The Pedal Board

Red Rocket Guitars

2011-09-08T13:31:00.000-07:00

Red Rocket Guitars

Red Rocket Guitars are dedicated to custom guitars, each built by hand, one at a time to order. Each and every Red Rocket guitar is built from Private Reserve woods and loaded with custom wound pickups and vintage tone caps, but this is just the beginning. Utilizing contemporary building techniques and an extremely sensitive eye for detail, Matt Nowicki’s custom creations are on par with the world’s top luthiers and yield unparalleled vintage tone and feel that will inspire any guitarist to create the music that fits these guitars. While the inspiration comes from the golden years of rock ‘n roll, the feel and response of Red Rocket Guitars is a jaw-dropping experience. From the traditional American single cut solid-body to completely new designs, Red Rocket Guitars innovates with every instrument. The Afterburner is a semi-hollow masterpiece, the Rocketmaster an offset offshoot, and the customs range from T-Style to rockabilly classics and everything in between.

Red Rocket Atomic Six

In the tradition of custom instruments, the Red Rocket Atomic Six is a custom spec’d design that hearkens back to the early innovation of the electric guitar and its place in the historical annals of rock ‘n roll. Based on the traditional “T” body style, the Atomic Six re-imagines this instrument mated with another classic solid-body, the Gretsch Jet. The Red Rocket Atomic Six is built with a specially selected, chambered one-piece mahogany body topped with either paint grade maple or ash. The body is thin finished in a water based lacquer that is super thin and allows for the true tone of the wood to shine through. The neck is mahogany that has forgone the finish for a light grain fill and oil finish for a smooth, raw feel that is unlike any other guitar in its price range. The neck is capped with gorgeous, deep black ebony and fitted with 6105 frets for a snappy tone that adds some sparkle to the mahogany and an easy playing feel that will relax and sooth the hand allowing notes to flow like water.

To complement the incredible materials used on these guitars, the Atomic Six is loaded with TV Jones Power’Trons for a classic, scorching tone and fitted with TonePros hardware. The Red Rocket Atomic Six is a superbly crafted instrument that is built to the highest standards a builder can offer.

K-Line Guitars

2011-09-08T09:58:00.000-07:00

K-Line Gutiars

For many guitarists a lot of time, energy, and money is invested in searching. Searching for something elusive; a tone, a quality, an undefined specter that shifts shape and form on an almost daily basis. Something that inspires and overwhelms the senses with overtones and sustain, classic appeal but modern functionality, maybe something that was once owned but no longer. Enter K-Line Guitars.

K-Line Guitars are dedicated to helping guitarists end the search for that elusive instrument. Maybe it was a guitar owned in the 60’s that is yearned for and maybe it’s a boutique instrument that inspires creativity and emotional bonding with music. Whatever it is the guitarist seeks, K-Line has a guitar to fill the need. Based on timeless vintage instruments, each and every K-Line guitar is meticulously built and inspected to insure the highest quality instrument they can possibly put into the hands of a guitarist. K-Line Guitars is a company dedicated to the musician, not the dollar. Their love and passion for electric guitar translates into every instrument they build. To inspire passion and creativity is a lofty goal, one gracefully achieved by K-Line Guitars.

Each K-Line Guitar is a platform for creativity. Built in the tradition of time-honored tradition of classic American electric guitars, they have used their extensive knowledge and attention to detail to take on the challenge of providing vintage tone and aesthetic while meeting the needs of the modern guitarist. Every guitar is finished in a thin nitrocellulose lacquer finish in period correct colors. Some are aged with a proprietary process to appear well loved and played while others are given the Time Kapsule treatment of appearing to have sat in a hard case in the closet for 50 years. Either style results in a thin skin finish that has been allowed to settle into the grain while still letting the resonance and tone of the select woods to shine through like a beacon in the night.

The finish is not the only thing that sets these guitars apart. Taking their cues from the needs of modern guitar professionals, K-Line spends hours refining each neck from the comfortable contour to the rolled edges and meticulous fretwork. Combine this with modern hardware and boutique pickups and a K-Line guitar will deliver the classic tone and style while providing stable tuning and easy playing.

K-Line San Bernardino

The K-Line San Bernardino is a fantastic take on a classic offset body design. The comfy contours and larger body coupled with the unique K-Line neck results in a dream-like playing experience where notes just seem to float off the guitar without even trying. Since they are dedicated to function as well as form, the K-Line San Bernardino features an adjustable bridge with a stop tailpiece that provides tone and resonance instead of an outdated floating tremolo system. Pickup configurations vary per customer request but the K-Line San Bernardino is available with dual P-90’s, dual Firebird, dual mini-buckers, or dual full sized humbuckers and either Lollar or Klein models are standard. The K-Line San Bernardino is a JM lover’s dream guitar that outplays, outperforms, and exceeds the tonal standards set by the original model.

K-Line Truxton

The K-Line Truxton takes the classic early American single cut guitar to another level of bliss. This classic instrument is known for its signature “twang” and warm rhythm tones but one major drawback of this 60 year old classic was the lack of proper intonation. The K-Line Truxton has solved this issue as well as providing a more balanced and playable instrument by using the proper tonewoods and having custom made bridges with a thicker base and custom made, rolled brass, compensated saddles. These saddles allow for proper intonation and the rolling process of the brass provides a warm, still twangy tone that resonates and sustains properly as well as leaving the overtones intact for unparalleled harmonic response. Available in two models, the Vintage and the Special, the K-Line Truxton is loaded with either Klein or Lollar traditional single-coils on the Vintage model, or P-90’s on the Special model. This classic instrument has finally achieved the state of perfection it deserves. Like all K-Line guitars, the K-Line Truxton features rolled fretboard edges, thin nitro finish, and a custom neck profile that is perfect for any style of playing.

Grosh ElectraJet

2011-07-25T12:28:00.000-07:00

Grosh ElectraJet

The definition of modern classic; the Grosh ElectraJet. This unique electric guitar is the culmination of unique vision and attention to detail that is paramount at Grosh Guitars. Each and every aspect of the Grosh ElectraJet was designed from the ground up to fulfill the needs of the consummate professional guitarist in every way. From a pleasing vintage modern aesthetic to precision build quality and extreme functionality this guitar is the perfect instrument for the particular player whether they are a touring professional, collector, or discerning hobbyist. Each and every Grosh ElectraJet is available in a wide variety of options and pickup configurations for the most versatile instrument in Grosh’s lineup. Each guitar is built from the ground up by a discerning team of professional builders under the watchful eye of Don Grosh himself utilizing master-grade, tone-tapped woods, ultra thin nitrocellulose lacquer finish, and custom wound Grosh pickups. From the blazing tone of a dual humbucker setup to the funky quack of three single coils or the unending grind of a triple P90, the Grosh Electrajet has many faces and forms but only one mission, to be the best sounding and best playing guitar on the market today.

The Grosh ElectraJet VT is another model sporting the same base features but utilizing the classic T-style bridge and pickup configuration. Not only does the ElectraJet VT yield classic twang and pop but the thicker, meatier voice of the ElectraJet body adds another dimension to the tone culminating in a smooth twang with no harsh highs and a big, round rhythm tone.

The Grosh ElectraJet Standard is built with the same tone-tapped woods, ultra thin nitro finish, and hand crafted Grosh pickups but with fewer custom options and a new perspective on design. This allows a lower price point to bring the outstanding qualities of the Grosh ElectraJet to a wider demographic.

In conclusion, the Grosh ElectraJet is a unique instrument that sets a standard for any boutique guitar builder to follow. From the tone-tapped woods to the completely ground up design process, the Grosh ElectraJet is truly an instrument that will inspire creativity and release guitarists from the curse of searching for ultimate tone.

Grosh Guitars

2011-07-25T12:27:00.000-07:00

Grosh Guitars

Don Grosh started developing expert craftsmanship and attention to detail early on working in his father’s shop building sets for Hollywood film productions. These skills plus an innate sense of vision concerning guitar building led to the formation of Grosh Guitars. Don spent some time honing these skills as the Shop Foreman at Valley Arts in the 80’s creating guitars for guitar greats like Steve Lukather, Larry Carlton, and Vince Gill among others. Working with these high-caliber musicians taught Don a lot about dealing with very particular clients. He took these lessons learned and in 1993, Don Grosh Custom Guitars was born.

Starting out in the garage of his parent’s house, Don began his company to build hand-made custom guitars that topped the scales in playability, comfort, and tone. All Grosh Guitars are designed from the ground up with original concepts and unique vision. His first models were variations on the T-style guitars and were followed up by the legendary Retro Classic. Every aspect of the Retro Classic was conceived and designed from the ground up, despite their similarity to the traditional American S-style double cut guitar. Followed up by a stellar review in Guitar Player Magazine, the Retro Classic put Grosh Guitars on the map, helping expand the dealer base and by 2001, he had produced over 1000 instruments. This led to a move to a new facility in Santa Clara and building a team to expand production. This was followed up by the introduction of the Grosh Set Neck model, another re-invented take on a classic American instrument. The Set Neck brought as much attention as the Retro Classic and the reputation of Grosh Guitars grew even more.

This steady growth and reputation led Don to move Grosh Guitars to Colorado in an expanded facility that allowed him to assemble a team of top-notch builders that would help him take his company to the next level. Grosh Guitars is currently producing guitars and basses in this facility that meet only the highest standards of excellence in tone and playability. Grosh Guitars are known worldwide and each and every instrument is built from the ground up with customizable options.

Wampler Pedals

2011-07-19T13:27:00.000-07:00

Wampler Pedals

For a small company, Wampler Pedals treat their customers like the bigwigs. With a 5 year transferrable warranty and personalized service, Wampler Pedals set a new standard for a boutique effects manufacturer. Turn on the radio and a good portion of the latest country tunes you hear feature Wampler pedals. Brad Paisley and Brent Mason both use Wampler Pedals for their signature tones. Despite the recognition and big names that back them, the folks at Wampler treat all their customers the same. Whether you’re the next up and coming Nashville session player or country star, or just the at home hobby player, you can expect nothing but the best quality effects and customer service with Wampler.

All Wampler pedals are hand-built in the USA using only the finest components for durability and tone that will last a lifetime. All pedals feature thru-hole PCB’s to make sure they withstand the rigors of the road and don’t let you down when you need them the most.

From the Wampler Ego Compressor to the Faux Tape Echo, Brian Wampler has brought to market some of the hottest effects in the boutique industry. The Paisley Drive has been getting a lot of attention and the Plexi-Drive is a pedal chock full of classic JTM-45 tone. Any sound you’re searching for can be found in a Wampler pedal. Classic analog style delay and chorus, lush sounding spring reverb, and wall of sound fuzz pedals are all in the mix, not to mention multiple overdrives and distortions voiced to bring you the classic tone of your favorite amp or artist. Wampler Pedals continue to push the boundaries of what can be done in effects pedals and we’re proud to bring them on board here at ProGuitarShop.

Two Rock Amps

2011-04-15T15:39:00.000-07:00

Two-Rock Amps

When two friends with long music and electronic backgrounds get together to make the best sounding guitar amps available, great things can happen. In 1999 Bill Krinard and Joe Mloganoski formed K&M Analog Designs LLC to accomplish exactly that. The end result is Two Rock Amplifiers. Two-Rock amps are hand-built all tube designs built around the needs of the professional guitarist. Utilizing features such as switchable output power, both tube and solid state rectification, and components of the highest quality, Two-Rock delivers the goods that guitarists crave.

Bill Krinard has had his fingers in tube amplifiers for 40 years from designing hi-fi amps to tweaking guitar amps. He has innovated several new circuits that have seen production in many guitar amps. Two Rock Amps are no exception. Joe Mloganoski has spent 42 years playing and searching for that elusive ultimate tone. This quest led him to electronics and when his passion for tube amps caught up with him, he teamed up with Bill.

This dynamic duo of knowledge has come to the forefront with Two Rock amps. With signature models for John Mayer, Bill Kimock, and Eric Gales Two-Rock has made a name with the heavy hitters of guitar. Two-Rock amplifiers deliver the tone that guitarists have been lusting after for decades with a combination of Bill’s ingenious designs and Joe’s well trained ear. Each Two-Rock model is unique with a specific tone or selection of tones available with enough variety to appeal to any guitarist from blues to high energy rock.

Fano Guitars

2011-04-14T15:44:00.000-07:00

Fano Alt de Facto

Alt de Facto (alternate reality) is a creation by visionary guitar luthier Dennis Fano. Not a single guitar but an entire line of guitars that “might have been”, the Fano Alt de Facto line up consists of guitars that might have been seen in the early days of electric guitar if all the major companies were designing guitars together under one roof. This collaboration of pioneering electric guitar geniuses would have put their heads together on some pretty unique designs is what Dennis thinks, thus he imagined what could have happened and the Fano Alt de Facto series was born. From the LP Jr/Tele mashup of the Alt de Facto SP6 to the Ricken-style RB-6, the Fano Alt de Facto series has a guitar for just about anyone. Taking some of the best or most unique features of different guitars and putting them together, Fano Guitars has developed this unique line of instruments that appeal to not only the vintage enthusiasts but also to the younger, hipster crowd. Most Fano Guitars are done in a slightly aged fashion with some actual relics but mostly lightly checked nitro finishes and slightly distressed hardware and all for a price that is less than most aged custom shop guitars. Fano Alt de Facto guitars are individually hand-made with the utmost care and attention to detail for an unforgettable playing experience. When the same ol’ guitars you’ve been seeing and playing for years get you down, or you’re finally tired of the “classics”, the Fano Alt de Facto series might be a refreshing breath in an otherwise stale market.

Divided by 13

2011-03-29T13:56:00.000-07:00

Divided by 13

Fred Taccone did not start off building amplifiers. A lifelong tinkerer, Fred studied business, electronics, and recording engineering in college while working for Fender and Music Man. After that he was in a successful punk rock band, did freelance recording, and amp repair/mods. Once Fred decided to settle down with his wife in the mid 90’s, he became a full-time amp technician performing repairs, modifications, and tweaks. During this time, Fred had many conversations with guitarists such as Nick Lashley and Corky James. These conversations often came back around to one statement, “I wish I had an amp that would…” Instead of wishing or modifying existing amps to fulfill fanciful desires, Fred just made his own. His first amplifiers were built specifically to fulfill the needs of specific guitarists so they were unique, and one of a kind. After the word spread a bit, he had more and more requests and Divided by 13 was born.

Now, most Divided by 13 amps aren’t your run-of-the mill “classic” designs made better. Fred had the unique vision of taking the best tonal features of classic amplifiers and mixing them together for an all new take on guitar tone. Take the Divided by 13 RSA 23 for example. By combining the powerful voice of a Marshall-style, KT88 driven power amp and the soulful Vox-like tone of an AC30 preamp, this 23-watt powerhouse provides a distinct blend of these classic sounds.

The unique tone of Divided by 13 amps has attracted players from around the world in every genre. Divided by 13 amps can be seen on the stage with powerhouse players like Ronnie Wood, Billy Gibbons, Mark Knopfler, and Elvis Costello as well as rockers like Kevin Shields (My Bloody Valentine), Jordie White (Marilyn Manson, A Perfect Circle), and Billie Joe Armstrong (Green Day). Guitarists, producers, recording engineers; they all insist on having Divided by 13 amps close at hand if not exclusively to bring the public the best guitar tones they possibly can.

In the search for something new and unique (and better than their buddy’s), guitarists spend thousands of dollars and countless hours swapping equipment, selling, buying, and listening. Divided by 13 has the solution to that problem. No matter what the tone you hear in your head is, Divided by 13 has a solution. Yes they are boutique, hand-made, and a little pricey but in relation to legendary amps such as a Dumble, the price is right and the search for tone can finally come to an end with a Divided by 13 amplifier.

Nobels ODR-1

2011-03-11T14:21:00.000-08:00

Nobels ODR-1

The Nobels ODR-1 has been hailed as “the best overdrive pedal on the market” by some of Nashville’s top guitarists as well as heavy hitter Jerry Donahue of the Hellecasters. But what is the ODR-1? What makes it so special? Let’s see…The Nobels ODR-1 was first built in 1985 by German company Nobels Electronics. While Nobels offered (and still offers) an entire line of effects pedals, none quite took hold like the ODR-1. Providing true, amp-like overdrive and response, the ODR-1 was soon sought after by many guitarists. Now, when searching for information on the Nobels ODR-1, there’s not a lot to be had. Mostly forum comparisons and review sites so the origins and history are a bit unclear. On the 10th anniversary of the Nobels ODR-1, there was an anniversary model introduced in a silver case. This model possibly had some minor circuit tweaks and some say it did not quite capture the tone of the original. Those of us that have never tried an original ODR-1 might never know…

Now it’s back. The Nobels ODR-1 is in full production in the original green case and built to the original specifications. A value oriented pedal it may be, but the tone is worth much more than the $99 price tag. Built with simplicity in mind, the Nobels ODR-1 features just three easy controls. Volume, Gain, and Spectrum. While self explanatory to a degree, the Volume and Gain controls are highly interactive and subtle changes can produce a wide variation in tone and response. The Spectrum control is where the fun comes in. Not just a standard Tone control, the Spectrum varies both the low mid content and the high frequencies allowing for smooth adjustment from saggy blues to modern rock and everything in between. When all three controls are set to high noon, the ODR-1 delivers that classic Nashville Tele overdrive that is hot, crisp, punchy, and clear. Superb note definition and dynamic response have helped the Nobels ODR-1 gain an almost legendary following with professional guitarists. While the mystery still remains behind the ODR-1, the sound of this pedal speaks for itself. The Nobels ODR-1 will easily fill in the missing gap for the overdrive enthusiasts and will also stand alone on a pedal board as a boost or overdrive for the working musician.

Vox Ice 9 Overdrive

2010-06-10T13:02:00.000-07:00

The Vox Ice 9 Overdrive Pedal is the result of another masterful collaboration between Joe Satriani and Vox. The Vox Ice 9 Overdrive gives you two different overdrive voices. First, you get a Vintage voice option that brings you back to classic 70's overdrive - nothing but warm and sustaining overdrive that is ultra smooth and sweet. The Modern voice will get you some contemporary crunch that cut through the mix and thicken up any guitar or amp with its germanium circuitry. The Vox Ice 9 Overdrive is a brilliant take on warm and organic overdriven tube tones, and is currently being used by Satch in his current work with Chickenfoot as well as his solo concerts. The man knows tone, and his partnership with Vox has really created something special with the Vox Ice 9 Overdrive . Also on tap is a More switch that will give you 14 db of boost. This is perfect for soloing, and allows you to keep a classic overdrive rhtyhm tone or modern crunch tones and then punch in the boost for a solo that will really cut through the mix. The Tone and Bass controls of the Vox Ice 9 Overdrive also allow for further shaping of your sound. This is an overdrive pedal will a lot of versatility on tap, and perfect for a variety of playing situations. The Vox Ice 9 Overdrive is not limited to Satriani inspired soloing or ultra-complex compositions. This is a pedal that will grind and growl for classic rock rhythm, classic metal, or any other rock style you can throw its way. The Vox Ice 9 Overdrive has Joe Satriani's name on it for a reason. With its versatility, warm, organic, and transparent tone, and quality components, the Vox ice 9 Overdrive is the od pedal to own.

Fender Custom Deluxe

2010-02-19T11:22:00.001-08:00

The Fender Custom Deluxe line of instruments from Fender’s Custom Shop are guitars of exceptional craftsmanship, beauty, and artistry. The Fender Deluxe Stratocaster and Telecaster are two masterful example of the Fender Custom Shop’s commitment to superior quality instruments. These guitars come straight from the Fender Custom Shop in Corona California. For over 20 years, the Custom Shop has crafted some of the most refined and soulful guitars available, and now the Fender Custom Shop has delivered yet another classic in the Fender Custom Deluxe line of instruments. Fusing select and premium woods, hand wound pickups, and the skills of Fender’s small team of luthiers, the Fender Custom Deluxe line of guitars are the finest example of what Fender offers to the musical community. These guitars provide all the tone and playability that discriminating players demand, and will command respect on stage or in the studio. Select alder of premium ash woods are used as the foundation of these instruments, providing unsurpassed tone and resonance. The necks of the Fender Custom Deluxe Telecasters and Stratocasters are lightly flamed “A” maple with a 9.5” radius and 22 narrow jumbo frets. Players can choose maple or a dark Indian rosewood fretboard, with rolled fingerboard edges and clay dot inlays. These necks allow players to dig some real soul out of these instruments, and are supremely playable. The pickups are straight from the Fender Custom Shop. The Fender Custom Deluxe Stratocaster’s neck and middle pickup are Fender Custom Shop ’69 pickups, and the bridge is a Fender Custom Shop Texas Special. The Fender Custom Shop ‘69’s have grey bobbins and the middle is wound/reverse polarity for hum canceling in position 2 and 4. The Texas Special bridge pickup delivers some true Texas tone, and has a mid range character that will add some heft and thickness to your bridge pickup. The Custom Deluxe Telecaster is also equipped with Fender Custom Shop pickups, and have a “Twisted” Tele single coil in the neck, and a Custom Shop Hot Nocaster single coil in the bridge. The bridge of the Fender Custom Deluxe Stratocaster is a 2 point synchronized tremolo and polished stainless steel saddles and block. The Fender Custom Deluxe Telecaster has a custom chrome plated steel bridge plate with plated solid steel saddles. These appointments ensure rich and resonant tone. Deluxe staggered Fender/Schaller tuning machines dispense with the need for string trees, further adding to the tonal richness of these instruments, as well as the unequaled tuning stability of the Fender Custom Deluxe line. A host of finishes are available for the Fender Custom Deluxe instruments and rendered on several layers of nitro lacquer finish, which also contributes to the exceptional tone of these guitars. Choose Lake Placid Blue, Vintage Candy Tangerine, 2 tone Sunburst, or Vintage White or HLE Gold. An Ash body can come with either 2 Tone Sunburst or Aged Cherry Sunburst. The Fender Custom Deluxe’s features add up to an instrument like no other. The finest features of vintage and modern Stratocaster and Telecasters are merged in a guitar of consummate value and extraordinary tonal qualities. This is the Fender instrument you have been seeking your whole life, and now with the Fender Custom Deluxe line of instruments, your dream Stratocaster or Telecaster is ready for you.

Schecter Standard

2010-02-02T10:36:00.001-08:00

The Schecter Standard Series line of guitars provides the working musician with an incredible value. These guitars are highly affordable mid-priced instruments for musicians who need an instrument of excellent quality, but not an guitar that will blow out their bank account. These are not “budget” or “beginner” guitars. They are gig-worthy instruments with USA made Tone Pros bridges, Seymour Duncan designed high quality pickups, and Grover tuners. Add to these features some truly gorgeous finishes and Schecter’s own original designs, and you have an instrument that will demand respect on the stage, in the studio, or in the garage. The Schecter Standard series of guitars come equipped with Duncan Designed pickups. These are high quality alnico pickups wound to Seymour Duncan’s specs. They are not cheap ceramic import pickups found on many budget instruments. They are based on some of Duncan’s classic pickup designs, including the 59/JB set. All Schecter Standard Series also have a coil tap feature so these Duncan Designed humbuckers can also bring the single coil tone, giving them amazing versatility. The Schecter Standard series includes the Solo 6 Standard, a single cutaway mahogany solidbody with 24 frets, and a 25.5” scale neck for unmatched playability. Finishes include flamed maple tops on the Black Cherry or Dark Brown Sunburst or a classy Gloss Black. The Tempest is Schecter’s dual cutaway, totally original body design, for the guitarist needing a completely unique style on stage. Finishes include Vintage White or Gold, or Gloss Black. The C-1 Standard is a classic “S” shaped guitar, with a string-through body design for unequaled resonance and sustain. It also comes equipped with 24 frets and Schecter’s unique 25.5” scale neck. Finishes include flamed maple on Black Cherry, Dark Brown Sunburst, or a gorgeous Trans Ocean Blue. The Schecter Standard C-1 is also available with a Floyd Rose Special locking tremolo system for additional sonic possibilities, including intense divebombs or harmonic squeals. The Schecter Standard C-7 is a 7 string beast designed to rumble and blast away with dark and menacing tones. It is also a great choice for jazz, blues, or experimental musicians looking to get into the world of 7 string guitars to open up their harmonic possibilities. The Schecter Standard 7 is a high quality instrument for an amazing price, and will deliver the 7 string growl and bottom end that today’s extreme guitarists demand. The Schecter Standard Series of guitars are for today’s modern guitarist who need unmatched tone and playability but are also value conscious, and need a quality instrument that meets their exacting demands. The Schecter Standard series delivers on all fronts: fantastic tone, superior playability, and excellent value.

Tags: Schecter+Standard

Schecter Damien Elite

2010-01-29T17:05:00.000-08:00

The Schecter Damien Elite series of guitars are affordable instruments that do not compromise on craftsmanship, quality, playability, or the modern features that today’s players demand. The Schecter Damien Elite are high quality instruments that deliver pristine clean tones, brutal and punishing rhythms, and most importantly, deliver extraordinary value for the working musician. A review of the features on these incredible instruments will convince players of all levels of their unmatched quality. The Schecter Damien Elite series is also available in single or double cutaway styles, with mahogany bodies and bolt on necks. Choose a quilted maple top for some extra style, or a metallic black or blue finish. Licensed Floyd Rose locking tremolo systems are also available on the Schecter Damien Elite series, for players who need extra sonic choices in their playing. String-through bodies with Tone Pros brdiges are also available and this design provides a rich sustaining resonance to these guitars. The necks of the Schecter Damien Elite series are all 25.5” scale, and have 24 extra jumbo frets with Stained Cross inlays for a truly menacing appearance. All Schecter Damien Elite guitars come standard with and EMG 81/85 pickup set. These active pickups have defined the sound of a generation of extreme and brutal guitar tones, and are perfect for blistering heaviness or picked arpeggios. The EMG 81/85 set delivers exceptional clean tones that only active pickups can capture, and can add additional richness to the dynamics of your playing. The Schecter Damien Elite is also available in a double cutaway 7, 7 FR, or 8 design. The C-7 design is a 7 stringed instrument that will open up the possibilities available to you as a guitarist. Either with the thundering rumble of the 7th string, or simply opening up the harmonic possibilities of your music, 7 string instruments are now available in the Schecter Damien Elite series. The Schecter Damien Elite 7 is also available with a licensed Floyd Rose for further playing options. The Schecter Damien Elite is also available in 8 string, for the player who desires to push the boundaries of their creativity and their audience’s expectations. The Damien Elite 8 is the perfect instrument for progressive, extreme, or other forms of modern music. It is also an excellent choice for players who are simply wishing to enhance their sonic palette. In any musical style, the Schecter Damien Elite 8 will provide endless possibilities for your music and your creativity at a price that even the most modest working musician can afford. The Schecter Damien Elite series is an outstanding value for today’s guitarist seeking quality and value in a modern-fitted instrument.

Schecter Custom

2010-01-29T16:48:00.000-08:00

The Schecter Custom series of guitars encompasses three distinct styles of guitars, all with their own style and attitude, but with the same high quality USA components and unmatched attention to craftsmanship. These mahogany bodied, solidbody, set neck instruments are all modern configurations of this classic guitar style. All of Schecter’s Custom line of guitars come standard with the following USA made hardware and pickups. Each Custom guitar is equipped with a Seymour Duncan SH-11/SH-1 pickup set. The SH-11 is a Custom Custom, which is a high output vintage voiced bridge pickup, and the SH-1 is a vintage output, vintage voiced neck pickup that delivers sweet, sustaining tones. All Schecter Custom guitars are equipped with a coil tap for splitting the humbuckers, and getting truly usable single coil tones from these exceptional pickups. This tonal versatility makes these instruments perfect for all styles of music, and the perfect instruments for guitarists who play a wide range of styles. The Schecter Custom line of guitars all have 25.5” scale necks with 24 frets for unequaled playability. Tone Pros bridges and locking tuners are also standard appointments, as well as Graph Tech nuts. These features set the Schecter Custom line apart form the hordes of other mahogany bodied set neck instruments. Choose the Solo 6 for the classic single cutaway design, but marvel at Schecter’s ultra access system to really dig into those 24 frets. If you need a more original body design, take a look at Schecter’s Tempest design, a mean looking rock n roll beast. The C-1 is a timeless dual cutaway body style. The C-1 is available with an Original Floyd Rose, the locking tremolo system that revolutionized the world of dynamic guitar playing. The Schecter C-1 Custom is also available in a string-through body for deep and rich resonance. The Schecter Custom is also available in 7 string, with the C-7 Custom. This instrument is an extreme player’s dream, and can open up the sonic possibilities of the instrument. The Schecter Custom C-7 guitar is a modern marvel in its see through black finish, and has a unique voice for progressive, extreme, or other styles of heavier music. It can also provide significant harmonic possibilities for the adventurous blues or jazz musician. All of the Schecter Custom line of guitars also come with either a maple quilted top on select models, multi-ply cream binding, and MOP split crown inlays for a truly distinct and classy finish.
The Schecter Custom line of guitars are for the most demanding of musicians who need true tonal diversity, complete playability, and unequaled quality in a solidbody guitar.

Schecter 7

2010-01-29T16:39:00.001-08:00

The Schecter 7 series of instruments take guitar playing into the next realm of creativity, sonic territories, and harmonic possibilities. Schecter has crafted a number of 7 string guitars within the Schecter 7 series of instruments. While all of these guitars have individual appointments and features that make them unique, the one hallmark of all of these guitars is a craftsmanship and quality that is Schecter’s signature. The Schecter 7 series of instruments are the perfect choice for guitarists who are innovators, sonic hellraisers, and progressive auditory manipulators and demand modern features for today’s extreme musical forms. Either way, the Schecter 7 is the ideal instrument for players looking to make their musical mark, and not re-tread the sonic blueprints of the last century.The Schecter 7 series is available in the “C” line of Standard or Custom guitars, mahogany bodied, set neck guitars. Select the C-7 Custom for Seymour Duncan pickups, Original Floyd Rose locking tremolo, and locking tuners. The Schecter C-7 Standard is a more affordable version of this instrument, with Duncan-Designed pickups and a licensed Floyd Rose. String-through body versions are available on both the Standard and Custom series of Schecter 7. The Schecter 7 series is also available in the demonic Hellraiser line of guitars, which feature an active EMG 81/85 pickup set, and some truly menacing finishes. Original Floyd Roses are also available on these Hellraiser guitars for added bedlam, and make sure to check out the Hellraiser V-7, a most evil axe. The Schecter 7 series also comes in the affordable, but high quality Damien Elite series, for the working musician looking to explore the possibilities of 7 stringed instruments with bolt on necks. The Damien Solo 7 series comes in satin black, and is yet another line of affordable 7 string brutes from Schecter, with an Active EMG HZ set, and a licensed Floyd Rose system available. Schecter 7 series of guitars is also available in the Blackjack line of guitars. These guitars come equipped with active Seymour Duncan Blackout pickups, and either an Original Floyd Rose or through the body design. The Blackjack line also features set necks and locking tuners for superior tuning stability and rich sustain. Schecter 7 series of guitars are also a good choice for more traditional players who are looking to expand their harmonic choices. They are not simply “noise maker” guitars, they can produce sophisticated sonic tones that 6 string guitars can’t replicate, and are also excellent choices for progressive and modern players whose creativity is limited by a simple 6 string instrument. Schecter 7 series of guitars are available in a wide range of models and options. All they need is your creativity and skill to unlock their potential.

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TC Electronic G System Limited

2010-01-28T15:24:00.001-08:00

The TC Electronic G System Limited is a new version of the multi-effects processor that re-defined the world of effect processors. The G System Limited now comes with a re-designed analog circuit for an improved signal path. This new analog circuit provides and utterly transparent, true tone for your rig. Other multi-effect processors color your tone, and take over the sound of your rig. The TC Electronics G System Limited is a sophisticated and powerful effects unit that integrates itself into your existing rig. It does not offer amp modeling. It just enhances the natural tone and sound of your guitar and amplifier with the rich, complex, and pristine effects you have come to expect from TC Electronics. Also, as an added feature, the TC Electronic G System Limited comes in a handsome anodized red housing, whose style really stands out on stage or the studio. The TC Electronic G System Limited comes with 100 presets in its Factory Bank, in addition to two separate User Banks that can also hold up to 100 presets. One of the User banks comes with an additional 100 presets. Up to 9 effects can be used simultaneously, and can be run in mono or stereo.

An overview of the effects housed within this versatile unit demonstrates its versatility and unrivaled tones.

• Filter: Resonance filters, Wah (traditional, Touch, and Auto), Formants

• Compressor• Modulation: Chorus (Classic and Advanced), Flanger (Classic and Advanced), Vibrato, Phaser (Vintage and Smooth), Tremolo, Panner, Univibe

• Pitch: Pitch Shifter (Intelligent and standard), Octaver, Whammy, Detune

• Delay: Single, Tape, Reverse, Lo Fi, Ping Pong, Dynamic, Dual, Modulated, Doubler

• Reverb (Spring, Hall, Room, Plate)

• Parametric EQ (three bands)

• Noise Gate

• Boost

• Edit Mode: tap tempo, tuner, and for editing effects parameters

• Note: the G System Limited does not come with an onboard overdrive or distortion.

The TC Electronic G System Limited acts as three separate but integrated tools: a multi-effects processor, an audio loop/channel selector, and a midi controller. The audio loop allows for 4 separate loops, for running additional stompboxes, and there are 4 dc outlets on the unit to power your pedals. Of course, the TC Electronic G System Limited can bypass all onboard effects to access the pedal loops, or it can switch amp channels. This truly provides a stunning versatility. There are numerous routing options as well, to integrate modulation with delay, for example, rather than running them separately. The TC Electronics G System Limited also can be removed from its housing and used a rack mounted unit. Cool. You can also customize the switches and controls to use them for more frequently accessed effects. The TC Electronics G System Limited is unrivaled in its dizzying array of options for today’s working guitarist. It is also the perfect effects unit for the guitarist on the go, as it can easily be transported in a gigging case, and plugged in to any amplifier while on the road. Add the TC Electronics Nova Drive to the TC Electronics G System Limited, and experience true musical freedom with unlimited expression at your fingertips. The TC Electronics G System Limited is unmatched not only in its pristine effects and innumerable options for limitless control, it is also the best sounding multi-effects processor that is available today. With the redesigned analog circuit for signal path, the TC Electronics truly integrates itself into your rig, providing the unhindered and transparent tone of your guitar and your amplifier, but with the rich and warm effects of TC Electronics. The TC Electronics G System Limited sets a new standard for multi-effects processors, and its unparalleled utility will open up your creativity and playing with its utter transparency and rich tone.

Tags: TC+Electronic+G+System+Limited

Pigtronix EP2 Envelope Phaser

2010-01-15T17:00:00.001-08:00

The mad geniuses at Pigtronix have outdone themselves with their complete re-imaging of the possibilities of the phase shifter. The control and versatility within this pedal is unparalleled in the world of phase shifters, and provides a staggering amount of sound shaping options for the sonic experimenter. The Pigtronix EP2 Envelope Phaser will harness the sound of any musical source in its input, and can control the phase motion through either the Envelope, LFO, or a blend of both features. The Sensitivity knob controls the amount of the instrument’s signal necessary to open the envelope filter. The Depth knob controls the amount of LFO Modulation. The Center knob regulates the LFO’s sweep in the audio spectrum. Speed and Depth knobs are present, as with other pedals, and the Resonance controls the amount of signal that is fed back – creating those classic hallucinogenic swirling phase effects that have graced so many classic recordings. Control the EF sweep, either selecting either up or down waves. The Staccato switch is perfect for rapid picking, funked up bass, and super-tight funky rhythm work. This feature is an “intelligent envelope” that monitors your playing, and responds to the signal as you play, releasing the envelope in between the notes. This truly innovative design seamlessly blends into your playing style and song structure, and eliminates unnecessary tweaking in between songs. This is a a must-have feature for the gigging musician who needs maximum effect with minimal adjustments. Another exciting feature of the Pigtronix EP2 Envelope Phaser is the “LFO smooth” switch. This additional control allows for quick and simple access between either swooshing Univibe effects or Mutron style quark and quack with just a click of the footswitch. The Pigtronix EP2 also has control options for either an expression pedal in the Sweep or Speed channels. The astonishing array of envelope and phasing effects available in this pedal are truly mesmerizing. The Pigtronix EP2 Envelope Phaser is true bypass, 18 volt for significant headroom, and Pigtronix’s “trigger” input for shaping the envelope using an external audio source. Don’t let the amount of controls or the complexity of sounds available scare you away from the Pigtronix EP2 Envelope Phaser. This pedal, although offering an amazing array of sounds, is actually fairly easy to plug in and instantly get some fantastic phasing and envelope filter effects. Taking it to the next level of original tones and startling effects is up to your own imagination and creativity. Let Pigtronix give you the tools you need to finally hear the sounds in your head.

Tags: Pigtronix+EP2+Envelope+Phaser

TC Electronic Polytune

2010-01-15T16:30:00.001-08:00

TC Electronic has always been an innovator in their guitar effects. The quality of their effect pedals and systems, as well as the tone achieved through these effects are simply astounding. Now TC Electronic introduces its Polytune, which has essentially changed the way guitarists and bassists will tune their instruments. How can you get excited about a tuner, right? Normally tuning is just something you gotta do before you can get playing. Not really an exciting part of the gig, right? Well, think of all the annoying things about tuners, and then forget all them. TC Electronic has addressed every serious issue with tuners, and addressed them with the their Polytune. The first issue at hand is a quicker way to tune, with less fuss. With the TC Electronic Polytune, you simply strum all 6 strings, and the tuner will let you know specifically which strings need to be tuned. Astounding. No more attempting to tune individual strings while on stage, and the band is waiting to rock. The TC Electronic Polytune reads all 6 or 4 strings and then will indicate which string is out of tune. The reference pitch can be set to your preference and ranges from 435Hz to 445Hz, which allows for amazing flexibility in terms of tunings you can use, and can allow for playing in a variety of musical settings. Go easily into dropped tunings, or open stringed tunings, without the hassle of having to pick out each individual string. Needle node is for players who like a more traditional tuner view. The stream mode measures even minute variations in pitch and instantly allows you to see any discrepancies in tuning. The tuning needle of the TC Electronic Polytune slows down as you move closer to the desired pitch, making for an ease of use not found in other tuners. Adding to these high quality features is a way to store preferences, from tuning mode to pitch preference. Just punch in your preferences once, and you’re good to go until you decide you need a different tuning mode of pitch preference. It’s that simple. The ambient light sensor of the TC Electronic Polytune is another amazing feature which matches the LED’s brightness to the surroundings of the tuner. The 17 LEDS in the TC Electronic Polytuner provides a higher resolution and superior visibility at all times. Add to all these features the compact size of this exceptional tuner, true bypass, utterly easy battery access, and the TC Electronic Polytuner is the by far the best tuner available to musicians today.

Tags: TC+Electronic+Polytune

Fender American Special HSS

2010-01-08T17:23:00.000-08:00

The Fender American Special HSS is a USA made humbucker-equipped Stratocaster unparalleled in value and quality. For years, guitarists have used humbuckers in the bridges of their guitars to add a versatility to their Stratocasters. This mod became so popular that Fender Guitars has offered it as an option on Stratocasters for an almost equal number of years. Now the Fender American Special HSS gives Strat players this exceptional customization at an unprecedented value for a made in the USA guitar. The Fender American Special HSS is under $800, but with quality components and features that set it above guitars in the same price range. The Fender American Special is made of Alder, with a gloss urethane finish that allows the inherent richness of the tone wood to breathe and resonate. Finishes come in black and three-tone sunburst, with 3 ply black pickguards to add some extra mojo to the visuals of this fantastic sounding instrument. The modern “C” shaped neck has a rosewood board with 22 jumbo frets, a 9.5” radius, and a satin neck back for exceptional playability, and plenty of room for wide, soulful bends without fretting out. The Fender American Special HSS come equipped with Fender Custom Shop Texas Special alnico 5 pickups in the neck and middle position. These pickups defined the sound of Texas blues, but they are versatile enough to play any genre of music with their glassy sparkle and low down dirty tone. These pickups are standard on many Fender Custom Shop guitars, and deliver startling Stratocaster tone. The bridge pickup is a Fender Atomic Humbucker, an overwound hot humbucker that has plenty of mid range heft, but also enough highs and lows to give your lead playing that extra push. This pickup configuration gives a diverse array of tones for players of any genre, allowing you to walk into any playing situation confident that you will cover all the bases. The Fender American Special HSS is further enhanced by the inclusion of the patented Fender Greasebucket tone circuit, which rolls of the highs without adding bass, which essentially retains the clarity of the guitar signal without muffling the tone. Add to this a vintage-styled tremolo bridge, and a narrower string spacing for further ease of playing, and the Fender American Special is truly an amazing value for under $800. The American Special HSS provides players with all the tools they need to deliver an amazing performance, whether it be in the studio, on stage, or in the garage. The Fender American Special – crafted by the people for the people.

Fender American Special

2010-01-08T17:08:00.001-08:00

The Fender American Special guitars are an unprecedented fusion of value and quality in a new line of instruments for the coming decade. This USA made instruments have been designed and crafted with the working musician in mind, with high quality components, features and USA craftsmanship that only Fender can deliver, all for under $800. The Fender American Special line of guitars includes Fender American Special Telecaster, the American Special Stratocaster, and the American Special HSS. All of these superior instruments come with 22 fret maple necks with jumbo frets, 9.5” radius, satin finishes and 70’s styled headstocks. The American Special HSS comes with a rosewood neck rather than a maple, adding to tonal characteristics inherent in this versatile Stratocaster. All of the American Special guitars come with Texas Special pickups, the most popular pickups available through the Fender Custom Shop. These alnico 5 pickups provide a true sparkle, richness, mid range, and grittiness that only the Fender Custom Shop can deliver. Not only are these perfect for blues, but rock and country players can also get some phenomenal tones from this extraordinary pickups. The American Special HSS has a Fender Atomic Humbucker in the bridge, a hot humbucker that delivers stunning crunch and sustain, singing leads, and a mid range bark and growl necessary for such a versatile instrument. The American Special Telecaster also has high mass “brass bar” bridge saddles providing a traditional Telecaster spank and twang that both traditional and modern Tele players demand. Add a string-through body design for the American Special Telecaster, and you have exceptional USA Tele tone all for under $800. All Fender American Special instruments come equipped with the patented Fender Greasebucket tone circuit, which rolls off the highs without adding bass. This means when you back off the tone, the inherent clarity of the Texas Special Pickups remains, without being muffled or stifled. The Fender American Special line of guitars are all crafted from alder, with 3 ply pickguards, and some nice stylistic touches to make them stand out. The Fender American Special Stratocaster is available in Candy Apple Red or Two-Tone Sunburst. The American Special HSS is available in Three-Tone Sunburst or Black, with black pickguards complimenting the already ultra-cool vibe of these humbucker-equipped instruments. The American Special Telecaster is available in a classic Olympic White or Three-Tone Sunburst with black pickguards for a real classy finishing touch. The Fender American Special line of guitars are a phenomenal value that incorporate some of the best features Fender has to offer for the discriminating guitarist. Made in the USA, crafted with attention to detail and quality, and with brilliant tone that recalls all that is extraordinary about Fender guitars, the Fender American Special line of guitars deliver on all fronts. Fender American Special Guitars – made by the people for the people.

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ZVEX Fuzz Factory

2010-01-07T16:29:00.001-08:00

ZVEX has created a true fuzz monster with its Fuzz Factory. With NOS Germanium transistors from the 1960’s, this Fuzz pedal will startle and delight even the most skeptical and jaded overdrive junkie into utter disbelief. The array of fuzz tones available at the ZVex Fuzz Factory speaks to the obsessive nature of the tone gurus crafting these marvelous pedals. Not content to merely produce yet another fuzz pedal in an already over-saturated fuzz world, the folks at ZVex have created a fuzz pedal of astounding quality and unprecedented versatility. This pedal is very user friendly, with a relatively simple knob layout, but don’t be deceived by the lack of toggle switches or dual switching. With the extra features of the Zvex Fuzz Factory, any and all fuzz tones are available to you with some measured experimentation. And all of these features are incredibly interactive with one another, creating a dynamic and organic overdrive sound that is truly remarkable. The volume knob is self explanatory, increasing or decreasing your guitar’s signal. The Gate knob controls the amount of noise and squeals at the end of feedback, allowing for some truly interesting after shocks in your playing. The Compress knob adds attack characteristic which can control the pinch and generate some awesome feedback. Use this Compress knob in conjunction with the Stability knob to begin to understand the true potential of the ZVex Fuzz Factory . Oscillating and nasty, these features will make you feel as if your guitar signal has suddenly found a will of its own, and is attempting to strangle itself while fighting a downed power line. The Drive knob will increase the distortion level, and when turned fully clockwise, will offer heapings of compression. The ZVex Fuzz Factory is for the fuzz aficionado who craves some extra nasty delight and likes to experiment with truly original and creative sounds deep into the night. There are innumerable fuzz tones on tap with this extraordinary pedal of astounding quality. The interactive nature of the knobs on this fuzz machine will really open up the doors of overdrive creativity for the musicians who consider themselves noise makers and earth shakers. Some of the players who have punched the clock at the ZVex Fuzz Factory include John Frusciante, J Macis, Nels Cline of Wilco, and the Flaming Lips. As with all ZVex pedals, they are hand wired and hand painted, so each stompbox is unique and a true expression of its creator, Zachary Vex. Unleash your inner trouble maker with the ZVex Fuzz Factory for some heavy duty industrial noise making.

Xotic Effects

2010-01-07T15:46:00.001-08:00

Xotic Effects has created some of the most transparent and rich sounding pedals on the market today. Xotic Effects are primarily known for their three superior boost and preamp pedals. These are the AC Booster, the RC Booster, and the BB Preamp. The Xotic Effects AC Booster is a supremely natural sounding overdrive pedal. Not overbearing or overwhelming in any way, this musical and versatile pedal will provide just enough grit to get the job done. The RC Booster is an extremely clean and transparent booster pedal than can enhance the sound of other pedals on your board to bring out the true tone and muscle of your amp and guitar. Finally, the BB Preamp is the most potent of the three, providing singing sustain and a mid range boost that thickens the tone without coloring the sound of your guitar or amp. The Xotic EP Booster, housed in a compact pedal design, provides some extra shimmer and high end without taking up any real estate on your pedal board. If you need more versatile tonal options, check out the BB Plus Overdrive/Boost Pedal contains both the BB Preamp and an utterly transparent boost. Extra tone control and a comp switch provide unmatched tonal variety for the discriminating guitarist. Similarly, the AC Plus+ Booster gives you the sweetness of the AC Plus with a versatile boost. All of these pedals provide pristine overdrive and boost for your guitar’s tone. The sound of wood, pickups, and tubes fuse together with some added warmth with the addition of an Xotic Effects boost or preamp in your rig. These are the tones you have heard from professional musicians on world known recordings. The natural harmonic overtones, richness, and warmth that comes through Xotic Effects allows unfettered access to your creativity and playing ability. Just ask players like Greg Howe and Andy Timmons, who use the BB Preamp. But guitarists aren’t the only musicians using these amazing pedals. Bassists have the option of using the Xotic Effects Bass RC Booster, which can add some grit with a 2 band EQ. The Tri-Logic Bass Preamp Pedal has a Gain boost/cut of up to 4x and high and low midrange adjustments for dialing in the perfect bass tone. The Xotic Effects RoboTalk 2 is a two-channel, blendable envelope filter for guitarists and bassists who need to distinguish their funkiness above all others. All of these pedals add up to an impressive array of tools for musicians who like to keep their sound musical and true, without undue processing and coloration. Xotic Effects creates only true bypass pedals, made with the highest quality components and attention to detail and craftsmanship. If you love the sound of your guitar and amp, and want more of that sound, Xotic Effects will give you more of that sound, and then some.

Tags: Xotic+Effects

Blackout Effectors

2010-01-07T14:19:00.000-08:00

Blackout Effectors pedals are a true example of a perfect boutique pedal company. With a small array of indispensable and versatile effects, these hand- built pedals fuse quality, creativity, and unique features that are a true pedal geek’s dream. Blackout Effectors’ Fix’d Fuzz is a true fuzz junkie’s fantasy realized in a distinctive metal casing (choose ants or poppies), and with enough tonal shaping options that you will not need another fuzz pedal on your board. This one does it all. The Blackout Effectors Fix’d Fuzz is a four stage pedal that provides unparalleled versatility by giving the player the option of bypassing any stage, or running all four stages at once. And what stages these are, kiddies. The Bloom Stage acts as a boost, giving a darker but powerful tone to the front end of your amplifier. The Fuz:1 is vintage voiced that also has an internal Gain control that can powerhouse its way through any sludge. Fuz:2 is a mind warping sputtering splattering fuzz effect mixes in a slight octave. Flip into the Shade and get some more or less tone. All of these stages can be combined for limitless fuzz madness. The Musket Fuzz can get you some real vintage muff vibe, but with a 4 gain stage the Musket Fuzz does oh so much more in terms of tone and drive. The Mid control can scoop your mids like a dark and dangerous valley, and the Focus knob controls a pre-fuzz low end that allows for even more startling tonal shaping options. Blackout Effectors truly has come up with some dangerously creative fuzz that will stand out in any playing situation. But the madness doesn’t stop there. The Blackout Effectors Twosome Dual Fuzz has the ability to blend two of these amazing fuzz circuits in one massive powerhouse of overdrive sickness. Combine both the Fix’d Fuzz and the Musket Fuzz within one bad orange metal casing, and the fuzz options are limitless. The same versatility is available on the Twosome Dual Fuzz as with the Fix’d Fuzz. Finally, the Whetstone Analog Phaser will warp your sense of time and space with its luscious and evocative phasing abilities. Every parameter of the phasing effect is fully tweakable and controllable. But it doesn’t just provide hallucinatory phasing, the Blackout Effectors also produces amazing ring modulation, pitch vibrato, octave styled effects, and limitless combinations of these effects to astonishing effect. Blackout Effectors may keep it simple with its small but crucial line of effects, but within these effects, there are infinite varieties of tonal and effect options. All it takes is a player with an equal amount of creativity to unleash all that Blackout Effectors has to offer.

Pigtronix

2010-01-07T13:19:00.001-08:00

Pigtronix Futuristic Analog Technology has crafted effects pedals that take standard musician’s tools such as compression, echo, and distortion and completely expand the sonic palette of these time tested effects. These effects are not only re-imagined through the brilliant designs of Pigtronix engineers, but Pigtronix also offers some truly original designs that offer musicians some absolutely innovative and creative sounds. Futuristic Analog Technology from Pigtronix is essentially that: beautifully and frighteningly voiced analog effects that take these awesome sounds far, far into future with some truly captivating features. Pigtronix has crafted some fabulous distortion pedals for the serious overdrive connoisseur. The Pigtronix Aria has diode clipping which creates an incredibly rich and amp-like feel that dynamically responds to your pick attack. The Pigtronix Polysaturator is a distortion pedal that will give you amazing vintage overdrive, from bluesy clean boost to completely rude distortion. The limited edition Pigtronix Creamsicle Distortion Pedal tweaks the well known Pigtronix Polysaturator, and gives a truly creamed tone with less compression that a little more smoothness in the overdrive. The Pigtronix OFO Distortion Overdrive-Fuzz is a new take on an old favorite, with all three of these classic effects controlled independently of each other in one pedal, providing massive versatility. And each effect has a near-infinite variety of voices for any musical mission. The Pigtronix Philosopher’s Tone is a compressor/sustainer that can also add some fuzziness to your signal with its grit knob. This compressor/sustainer is truly transparent and quiet and can add significant depth to your guitar’s tone. Needing something more? The Pigtronix ASDR Attack Sustain Compressor adds a Harmonics knob that provides harmonic distortion which can act as a mild overdrive. The Attack section of the ASDR can produce volume swells and the Decay section can add some sputtering tremolo madness to the mix, which makes it a truly unique compressor. Pigtronix has also developed some truly innovative effects. The Pigtronix Mothership is an analog synth that can be used with guitar, bass, vocals, or horns, while also featuring an intelligent ring modulator. Octaves 2 above and 2 below, triangle or square waves, and the option of an expression pedal are just a few features of this fascinating pedal. The EP-1 is a phaser with multiple voicings, with can provide not only classic phase sweeps, but also some truly unique auto-wah sounds. It can also be controlled by a drum machine or laptop for non-guitar applications. Finally, the Pigtronix Phi Echolution Echo/Delay/Loop Pedal is one of the most sophisticated and versatile delay pedal ever crafted by human beings. Reverse echo, slapback, and infinite repeats are just some of the initial sounds that are available. Subdivision switches subdivide the tap tempo from ¼ to 2/3 and pi, and can be used in conjunction with each other. It also has a modulation delay mode, based on an LFO analog chorus and tremolo circuits.Pigtronix has taken the analog effects that have crafted some of the best known sounds in recorded music and have truly taken them into the infinite reaches of dreams and space, improving on classic designs with unparalleled creativity.

Tags: Pigtronix

Big John Music

2010-01-07T10:46:00.001-08:00

Big John Music effects pedals are crafted in Belgium by a someone who knows effects and what musicians require to get their tones noticed…a musician. These pedals are crafted with the finest components, including Alpha pots and Neutrik jacks, and are housed in virtually indestructible die-cast housing. Big John Music primarily creates distortion pedals, with point to point old school wiring, true bypass, and are powered by 9 volt connector, with no battery option for a cleaner, greener, and meaner overdrive tone. These pedals, it should be noted, are also manufactured using green energy, so when your fuzz tone decimates the audience, know that it also is helping the environment. Big John Music currently has three astonishing pedal available for those willing to take the challenge. The Obama Wah is not a political pedal, but it is a solution for those seeking a fixed wah sound that is coupled with a rich and sweet distortion sound. Utilize the Obama Wah’s gain knob for some truly outlandish textures for your distortion, as it functions as a voltage controller. Then, tweak the wah knob to find that wah sweet spot. Startling mayhem ensues with some creative knob turning to give you a truly original voice. Big John Music also has unleashed the Granny Puker, a pedal with dual functions. First, the Big John Music Granny Puker is a preamp/overdrive that really distinguishes itself with some amazingly transparent and rich overdrive. It is also a supremely nasty dirty octave down, with a mixer control to blend in the amount of octave down in your signal. Don’t be afraid of the puke on the floor, either. The Granny Puker’s puke knob will give you unrelenting amounts of sick overdrive that will unsettle even the strongest stomach. Feeling a little less nauseous? Turn the mixer knob to minimum for just some sweet overdrive, which is great for chords, but for those singing melodies, go ahead and turn that mixer knob up for queasy dirty octave.Finally, Big John Music presents the Hairy Balls, a fuzz pedal that will distinguish you as the alpha dog in the pack. This is also a dual pedal, with 2 separate effects in one fuzzy package. The booster on the Hairy Balls acts as a clean preamp with some phenomenal tube growl. Turn it clockwise to full effect, and hear some real fizz as the transistor bias begins to alter. It can also be engaged in conjunction with the truly nasty gated fuzz effect. Get even more outlandish with the gate knob, for some truly crazed face melting fuzz nastiness. For those who need that extra weight and thickness, the Big John Music Hairy Balls is ready to hang with the best of ‘em. Big John Music is ready to give you the utterly unique distortion sounds you need to step above the pack and mark your sonic territory.

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G&L ASAT

2010-01-05T15:52:00.001-08:00

In 1979 Leo Fender, along with George Fullerton, established G&L Guitars to update their iconic guitar designs that revolutionized popular music. The G&L ASAT is based on the first mass produced solid body guitar, first crafted by Leo Fender and popularized in the 1950’s. This classic single cut away, dual single coil guitar has been making history since its original conception in 1949, and G&L has taken this historic instrument’s design and added classic and modern flourishes that places it above other guitar manufacturers in terms of quality and attention to guitarists’ playing needs. The vintage features on the G&L ASAT are what literally defines the instrument in all of its historic glory. The bodies are alder or swamp ash for supreme resonance and tone. The necks are 7.5” radius, and hard rock maple with either maple or rosewood. High quality hardware includes steel saddle bridges and sealed tuners for exceptional tuning stability. The pickups on the G&L ASAT are G&L’s own Magnetic Field Design ceramic pickups, which provide a warmth and output that delivers vintage tone and when necessary, plenty of grit and punch for overdriven tones. All of these features provide the best of vintage styling as well as the modern upgrades and customizations that Leo Fender intended for his original solidbody design. The G&L ASAT is even more customized with additional features that truly command some attention from serious players. Semi-hollow body styles are available on all models of the G&L ASAT . To get that classic vibe just right, G&L ASAT Classic Blues Boy guitars come with a Seymour Duncan Seth Lover humbucker in the neck position so you can get your ya-ya’s out. The G&L ASAT Special has a specially designed over-sized single coil in the neck for a P90 tone to die for, and for that extra snarl when you need it. The G&L ASAT Z-3 has a three pickup configuration, and a creative switching system that allows for neck and bridge or all three pickups to be selected together. Need something extra for your ASAT Z-3? How about a blue sparkle finish with matching headstock, or a hipshot B-Bender on the Will Ray Z-3 model. The G&L ASAT Deluxe has a mahogany body, with either a premium flamed top or figured maple top and two alnico humbuckers. The array of options doesn’t stop with these exceptional variations of the G&L ASAT. Choose your own features and modifications, and G&L will deliver these to your hands through the G&L Custom Ordering Options. Binding on the neck and body are offered, unique finishes, as well as variations on pickup configuration, body woods, and neck radiuses. That’s just for starters. The G&L ASAT may be based on one of the most straightforward solidbody guitar designs in history, but Leo Fender’s G&L Guitars have taken his initial model T and hot-rodded it for guitar connoisseurs in the 21st century.

Fender Custom Shop

2010-01-05T12:51:00.001-08:00

With over 20 years in business, the Fender Custom Shop has had some amazing customers over the years. These are players who defined and designed the sound of modern guitar music, in all its varieties and ranges. The Fender Custom Shop Artist Series has worked intimately with some of the most iconic and diverse players to create recreations of these musician’s most beloved instruments. You may have heard of some of these artists. They include Eric Clapton, David Gilmour, Jeff Beck, Robin Trower, Dick Dale, Robert Cray, Albert Collins, Danny Gatton, Merle Haggard, and modern shred master John 5. The guitarists have created the foundation for modern guitar tones, and they have achieved this with Fender Custom Shop guitars. Now, the Fender Custom Shop takes these player’s instruments of choice and places them in your hands. With an astounding craftsmanship and artistry that only the Fender Custom Shop can provide, these Custom Artist guitars are designed to the exacting specs of these legendary artists. For example, the Fender Custom Shop Jeff Beck Signature Stratocaster has an LSR rolling nut, 2 point tremolo, slim modern “C” neck, and dual ceramic noiseless pickups. In addition to his 40 plus years playing guitar and his unparalleled technique, the specs on this Stratocaster are what provide Beck with the sounds and specs he needs to create his amazing tone. The David Gilmour Stratocaster Relic is an exact copy of his “Black Strat”, the guitar that was used to astounding effect on Gilmour’s best know and appreciated guitar solos. This Fender Custom Shop guitar has every nick, dent, and scrape as David Gilmour’s cherished Black Strat, along with his own unique customizations, which include a switch to add the neck and bridge together to achieve his unique solo tone. The David Gilmour Stratocaster Relic also has Fender Custom Shop hand wound pickups which achieve David’s much-revered Stratocaster tone. Add to this a shortened tremolo arm, and a custom beveled tremolo block, and the Fender Custom Shop achievement is not only in terms of tone, but also in terms of artistry. The Fender Custom Shop Eric Clapton Signature Stratocaster also has similar customized features that are specific to this legend’s guitars. Included in the Eric Clapton signature model is an active mid-boost tone circuit that adds massive sustain and midrange depth to solos, a soft “V” neck, and a blocked vintage steel tremolo. Add to these custom features Clapton’s own preference for pickups, a set of Vintage Noiseless pickups, and a 22 fret neck, and you have Slowhand’s own personal instrument at your command. All of the players’ custom features on these Stratocasters would not amount to much unless these instruments were crafted and assembled by the Fender Custom Shop’s team of luthiers. Their exacting attention to quality and components takes these artists’ designs and customizations and fuses them with years of guitar building experience to create instruments of unparalleled quality and startling originality. With customers like Eric Clapton and David Gilmour, the Fender Custom Shop delivers instruments that have altered the landscape of modern music.

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Mad Professor Pedals

2009-12-31T11:54:00.001-08:00

Mad Professor Pedals are hand crafted boutique guitar pedals designed and made in Finland with an astounding attention to quality unparalleled in the stompbox industry. These exquisitely crafted guitar pedals cover a wide range of critical guitar effects for guitarists of all styles and playing situations. Not content to simply provide standard overdrives, delays, or other essential effects, Mad Professor Pedals takes these industry standard sounds and tones and adds some truly creative embellishments. These extra features and the profound quality of these pedals place Mad Professor Pedals above all others. These pedals are utilized throughout the music industry by professional musicians to deliver some of the most recognized tones to some of the most admired artists in the recording industry. But now these same tones and effects are available to musicians everywhere. Mad Professor Pedals have several overdrive, distortion, and fuzz pedals for players of all styles. Needing absolute killing 80’s metal and hard rock tones without all the tone escaping your rig? Check out the Mighty Red Distortion for some compressed distortion for those classic tones. The Sweet Honey Overdrive is the absolute sweetest, transparent, and rich overdrive pedal on the market, delivering some phenomenal buttery goodness that also responds to pick attack. The Little Green Wonder is the TS-9 circuit pedal for guitarists who don’t like the traditional TS-9 pedals, but crave the sweet and singing tone and need more control over the mids and treble. The Fire Red Fuzz pedal has numerous fuzz tones on tap with a versatile tone knob, and establishes itself as a unique fuzz voice in a world over-saturated with fuzz pedals. Mad Professor Pedals are more than just overdrive, however. The Deep Blue Delay takes the best of both analog and digital delays, and works exceptionally well with distorted signals, all the while faithfully recalling the rich tape echo of days gone by. The Mellow Yellow Tremolo provides the shimmer of 1950’s tremolo that outshines other tremolo effects. Mad Professor Pedals also delivers auto-wah with their Snow White Auto Wah, an incredibly sensitive and responsive pedal. The Tiny Orange Phaser will modulate from subtle phase effects to even more whirling phasing to satisfy your hallucinatory tone urges. As with all Mad Professor Guitar Pedals, they are true bypass, and are very responsive to your playing style as well as the use of your guitar’s volume and tone knob. The classic guitar sounds that you grew up with have now been taken to the next level in terms of quality and superiority. Mad Professor Pedals have done the impossible by improving on these classic tones for the 21st century.

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Mad Professor Sweet Honey Overdrive

2009-12-31T10:12:00.001-08:00

The Mad Professor Sweet Honey Overdrive is yet another exceptional pedal from the audio labs in Finland. These hand built overdrive pedals by Mad Professor have an attention to quality components and utterly captivating sounds and features that leave other stompbox manufacturers shaking their heads in disbelief. The Mad Professor Sweet Honey Overdrive, a pick sensitive overdrive, provides the sweet, warm and rich tone of an overdriven tube amp that so many guitarists seek out for their sound. This overdrive is true bypass, so there is absolutely no coloration of your guitar and amplifier. Although providing significant overdrive and harmonic overtones, this pedal is surprisingly transparent. When you play a single coil guitar, those singles sizzle. When you play a humbucking guitar, you feel the crunch and smoothness. If the sound of overdriven tubes is your dream tone, then look no further than this astounding pedal from Mad Professor. Many pedals attempt to emulate this classic rock tone, but few achieve it in the manner of the Mad Professor Sweet Honey Overdrive. The Volume knob controls the overall output of the signal. The drive knob provides a significant amount of gain, but with some slight variation from other overdrive pedals. Most overdrive pedals continue to compress the sound of your signal as you turn it clockwise. With the Mad Professor Sweet Honey Overdrive, there is significantly less compression than with other pedals, providing a rich overdrive, even when the Drive knob is cranked. Even at these higher levels of overdrive, a turn of your guitar’s volume knob will yield amazing cleaned up tones. Another feature of the Mad Professor Sweet Honey Overdrive is the focus knob. This knob interacts dynamically with your playing. By turning it clockwise, it will easily distort with a heavy pick attack. By turning the Focus knob back, the tone is smoother, and will not distort as easily with you picking. What this amounts to is a pedal that you can just set, and then focus on your playing. With the combination of the utilizing the Focus knob, and altering the volume knob on your guitar, the wealth of sound available is astonishing. No more reaching down to tweak knobs between songs, or buying multiple overdrive pedals for different sounds. The Mad Professor Sweet Honey Overdrive is an indispensable stompbox that sets that bar particularly high for other overdrive pedals on the market. This truly organic and dynamic pedal from Mad Professor truly exudes the classic overdrive tones that have been heard on countless recordings, but remain elusive for so many guitarists. Now Mad Professor takes those tones and places them in your hands. The Mad Professor Sweet Honey Overdrive will have you focusing on your playing, and not on your pedal board

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Mad Professor Forest Green Compressor

2009-12-30T15:52:00.001-08:00

Mad Professor’s unwavering commitment to quality and superior components once again shines through with the Mad Professor Forest Green Compressor. This compressor pedal delivers utterly transparent tone from your guitar or bass to amplifier, while enhancing the dynamic capabilities inherent in the wood, pickups, and tubes of your guitar and amplifier. You would be hard pressed to find a quieter, better built compressor on the market today. There is no need for an additional noise gate in your pedal chain. With the Forest Green compressor, the noise is kept at a minimum, while maintaining the integrity of your own tone and sound. The Mad Professor Forest Green Compressor provides brilliant compression unequaled in hand built boutique pedals. The Forest Green Compressor can be powered by either 9 volts or 18 volts. The controls include not only the usual Compression and Level, but also a Tone knob. Rolling the Tone knob to 12 o’clock, the treble is reduced. Rolling past 12 o’clock reduces the amount of treble. This provides much more dynamic tone than a standard compressor pedal. The Mad Professor Forest Green Compressor also allows the user to toggle between compression and sustain modes. Compression mode allows for peak limiting to absolute fully squashed sound with just a turn of the Compression knob. The Level knob adjusts the volume of the signal, also allowing the Mad Professor Forest Green Compressor to be used as a dynamic boost. The sustain mode takes the natural attack and amplifies the decay of your signal, providing significantly sustained notes. Flip to the sustain mode, and really get the most out of your slide playing. The Mad Professor Forest Green Compressor Pedal is not afraid of a good overdrive pedal, either. Take your favorite single coil guitar with some sweet overdrive and this compressor pedal, and truly feel some brilliantly sustained notes through your old tube amp. The transparency of the Forest Green compressor allows your tone to shine through, all the while providing superb compression. Select the compression of your choice – go from Liverpool pop bliss to sweet Texas blues to Nashville twang with just some minor tweaks. Crisp leads and chicken-pickin solos can sit right next to rich, sustained chords, as well as the smoothest of solos. The Mad Professor Forest Green Compressor is the perfect compliment to the discriminating player’s rig. With a fine quality associated with only the most superior of guitar effects, Mad Professor delivers professional, road worthy quality compressor pedal for the guitarists or bassist seeking to rise above common compression pedals.

Devi Ever Hyperion

2009-12-30T12:37:00.000-08:00

The Devi Ever Hyperion is a handmade, true bypass boutique fuzz pedal that is quite simply a powerhouse in a small package. This pedal has been affectionately named the “Big Muff” killer, due to it being a superior alternative the often used big muff fuzz pedals. Why get a fuzz pedal to sound like everyone else, when you can get a unique spin on the classic silicon fuzz with the Devi Ever Hyperion. Though in the same sonic territory, the Hyperion provides significant harmonic overtone, bright but not overly bright tones, and some amazing response to your pick attack and guitar’s volume knob. Explore the courts of crimson kings, the dreams of Siamese twins, and the blackest of Sabbaths with this truly versatile and powerful fuzz pedal. The Hyperion is housed in simple but gig-worthy metal casing and is crafted with boutique quality components. Don’t let the two knob function fool you. Plenty of gain is available with a turn of the Control knob, but turning it down reveals some surprisingly rich harmonic overtones from the Devi Ever Hyperion. The volume knob is highly responsive. Turning it clockwise will overdrive you amp into fuzz paradise, but turning it down will bring out the natural character of your amp while retaining the Hyperion’s snarling tone. Turning the Control knob clockwise will change the fuzz tone and character, while also responding to your pick attack. Turn the Control knob counter-clockwise, and hear the notes fizzle out in some unexpected ways. Explore the sonic possibilities of Devi Ever Hyperion with some turns of your guitar’s volume and tone knobs. You’ll be surprised at the variety of tones and fuzz overdrives available to you with some experimentation. But don’t stop with plugging your guitar into the Hyperion. Try it with vocals, bass, or keyboards for some truly twisted tones. Bass lines will mutate into velcro-ripping fuzz nastiness with some creative experimentation. But don’t be shy of just plugging in to the Devi Ever Hyperion and wailing. It does that real well. Mad sustain is on tap with the Devi Ever Hyperion, but the unique gating feature of the Devi Ever Hyperion silences the fuzz when you aren’t picking. This fuzz pedal is not as unchecked as other pedals by Devi Ever, Goddess of Fuzz. Rather, it is manageable even at lower volumes, and still provides a rich, gainy tone and overdrive that delivers the silicon-drenched fuzz that today’s players crave. The Devi Ever Hyperion is an excellent choice for the player needing a versatile, big muff styled fuzz pedal, but with some extra features available only with a boutique build of this caliber.

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Death By Audio

2009-12-30T12:13:00.000-08:00

Death By Audio takes everything you know about guitar pedals, and then decimates that knowledge, placing this altered state of guitar pedal wisdom into some of the most unconventional and creative stomp boxes in the world. This small, independent pedal making collective from Brooklyn, NY is at the very cutting edge of guitar effects pedals, utilizing old school circuitry and designs, but in wholly unique, creative, and startling ways. Death By Audio is not for the faint of heart, or those seeking the same sounds as used by countless other musicians. Death By Audio is a company that is for eclectic experimenters, sonic collage manipulators, audio intellectuals, and mischievous musical trouble-makers. A brief overview of what Death by Audio produces will make even the most jaded noise maker drool with the sonic possibilities at hand. Overdrive and fuzz is a staple of the Death by Audio line of pedals. Get thick and gainy with such delights as the Fuzz War, Interstellar Overdrive, and the Supersonic Fuzz Gun. The Interstellar Overdrive Deluxe takes the sick fuzz of Death by Audio and adds some real twisted nastiness with oscillation, octave fuzz, and voltage controlled tremolo/fuzz. Not daring enough for you? Take a look at the mad oscillation and ring modulation available in Death by Audio’s other pedals, including the Harmonic Transformer Fuzz, and the Octave Clang. The unpredictable and startling tones available from these pedals will make you shake your head in disbelief. Death by Audio takes the tried and true fuzz circuits and with some tweaking and experimentation, makes the impossible quite simply possible on your pedal board. The Audio Soundwave Breakdown will chew up your guitar’s signal and turn it into an utterly beautiful catastrophe. By manipulating the filters and bias of the pedal, this Death By Audio creation will propel your sonic exploration to unheard of peaks and valleys of sheer fuzz sickness. The Total Sonic Annihilation pedal will bore itself into your pedal signal and interact with other pedals into your chain. This volatile auditory experience will shatter your conceptions of what a stompbox will do. The Death by Audio Robot is an 8 bit, lo fi pitch transposer that can mangle your guitar’s signal as if it was being transmitted from deep space through a transistor radio. Death by Audio pedals are hand crafted by individuals who know how to push the limits of stompboxes. And they are designed for the player who desires an effect that will push the limits of what stringed instruments can accomplish. Death by Audio has the tools necessary for unparalleled sonic manipulation, do you have the creativity to make the new noises for the 21st century?

Devi Ever Rocket

2009-12-29T11:54:00.001-08:00

The Devi Ever Rocket Fuzz pedal is ready to launch your guitar’s fuzz tone into the stratosphere and beyond. This hand built, true bypass, silicon boutique pedal was inspired by the wall-of-sound fuzz voicing on The Smashing Pumpkins’ Siamese Dream album. That incredibly unique guitar tone was created using an old big muff. Now, Devi Ever, the Goddess of Fuzz, introduces a pedal that emulates this classic fuzz tone, but with some modern features and surprises that will make this an indispensable part of your overdrive arsenal. The Devi Ever Rocket provides two unique fuzz voices with the ability to blend them into utterly astounding fuzz tones. This new fuzz pedal is a combination of two of Devi Ever’s other classic fuzz pedals, the Soda Meiser and the Vintage Fuzz Master, but the Rocket takes the abilities of these two boutique pedals and shapes them into something even more exceptional. The first fuzz tone of the Devi Ever Rocket is controlled through the volume and intensity knobs. This fuzz tone will send you to a big muff-drenched heaven of sonic bliss with its rich, thick, and gainy fuzz tones. The “more fuzz” footswitch engages a second fuzz voice as well as two toggle switches on the right side of the housing. The gain knob can blend in the two fuzz effects for some truly creative sonic textures. The tremolo effect can create some truly astounding sounds with a flip of the switch, which are also (barely!) controlled with the gain knob. The power knob controls the amount of guitar signal going into the pedal and also controls the variable speed of the tremolo and oscillation. With the first tremolo switch engaged, flip the second tremolo or “chaos” switch, and hear the sounds of space travel and the infinite tones of supernovas. This is not for the timid. This pick sensitive dynamic tremolo mode will truly interact in surprising ways with your own playing. The Rocket is perfect for the mad scientist styled guitarist, or bassist, seeking something that will disrupt the same tired old fuzz tones. These oscillating effects are what separates the Devi Ever Rocket from the hordes of fuzz pedals out in space. The unparalleled sonic manipulations available in this boutique pedal will create textured walls of sonic bliss or madness, depending on your moods. With these two fuzz voices, and the ability to blend them, as well as the astonishing oscillation available, the Devi Ever Rocket can bring you to new peaks of fuzz drenched ecstasy.

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Death By Audio Robot

2009-12-26T15:56:00.001-08:00

Unleash your inner robotic noisemaker with the Death by Audio Robot. If you need a guitar pedal that will set you apart from all others, and have the burning desire to create a sonic palette that no one can recreate except for you, than the robotic mayhem available to you through Death by Audio’s Robot, is just what you are looking for. This extraordinarily original pedal is essentially an 8 bit ring modulator, but the lo fi madness that it unleashes is unlike anything you’ve every heard before, unless you are building your own robot in your basement. The Death by Audio Robot is a radical noise maker for truly adventurous and radical sounds for your guitar arsenal. Simply, the Death by Audio Robot is a lo-fi pitch transposer that creates 8 bit ring modulation for your guitar’s signal. Choose between three modes, either octave up, octave down, or normal mode. In normal mode, the pedal is a lo-fi fuzz pedal. Amazing pitch bending is available through the control knob, in all three modes. An internal gain control can manipulate the amount of fuzz available, also, providing amazing amounts of variation, depending on your desire to explore with the Death by Audio Robot. The arpeggiator is the real hidden weapon within the Robot’s supply depot. With the Control knob, alter the speed of the arpeggiator in sequence, as well as alter the pitch. This will create some maddening sounds that no other pedal can reproduce. How high will it take the pitch? You need to experience this for yourself. What type of robotic control do you need? The Death by Audio Robot will take your guitar’s tone and mangle it, choke it, and then transmit the smoking mess of a tone through a lo-fi AM transistor radio from outer space. This will give you some idea of the sonic possibilities of the Death by Audio Robot. Wanting to emulate the old school sounds of Atari? Yes, this robot will take you there. Weird organish sounds only heard in 1950’s horror movies? Yes, get ready to enter the haunted graveyard with the Robot as your guide. Need to mimic your tool shed’s selection of drills? The Death By Audio Robot will assist you in your selection. As with other Death by Audio pedals, this is true bypass and housed in a sturdy metal box that will take the rigorous abuse you will attempt to give it.Unleash your hidden robot with these startlingly unique pedal.

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Fender Heavy Relic

2009-12-24T11:54:00.000-08:00

The relic process for guitars can undergo several variations. The Fender Heavy Relic process creates an instrument that appears as if it has gone through 30 years of travels on US highways, through countless honky tonks, and stadiums, all the while being played without caution or care, the way it was meant to played. Fender Heavy Relic guitars reflect this journey, with every bit of buckle rash, nicks, scrapes, dents, and loving scrapes to prove it. Not just lightly relic’d and beaten with care, these instruments have taken some wear and worn it lovingly. The Fender Heavy Relic necks feel as if they’ve been played every night on numerous stages, with every impression put there by your own hands. These necks are as smooth as if you’ve wrung every note from this instrument in your quest for a perfect performance. Gripping this neck is as good as sliding into the seat of your favorite vintage hot rod. With the same familiarity of your vintage leather jacket or historic muscle car, the Fender Heavy Relic guitars give the same feelings of intimacy with those particular works of art. It just feels right the moment you engage with the instrument. The hardware reflects the infusion of decades of sweat and smoke from endless gigging with the occasional beer thrown in for good measure to complete the finish. The oxidation process has been adoringly crafted on to the Fender Heavy Relic process, with all of the hardware appearing to have incalculable hours of playing time. But even though the bridges, tuners, and pickup magnets appear to be decades old, this hardware operates with all the precision and stability of modern instruments. This look just exudes a vintage feel and look that is simply unobtainable with a brand new guitar. Fender Heavy Relic is more than an instrument’s physical appearance, it is a profound sense of atmosphere for your guitar that can only be created with superior craftsmanship and artistry. It is not only a customization to a classic and legendary guitar design, it is a state of mind. It places the guitarist squarely in the historical continuum of vintage instruments, while distinguishing the same musician in today’s clubs, concert halls, and stadiums. With the Fender Heavy Relic guitars, today’s player can leave the vintage instrument at home, where it belongs, but still bring the vintage tone to the gig. These instruments can be crafted by the Fender Custom Shop to reflect all the sweat-soaked inspiration you’ve poured into your guitar over the years, without the worry of traveling with a priceless vintage guitar on the road. Fender Heavy Relic guitars, when you need to establish yourself today with the sound and feel of yesterday.

Fender Relic

2009-12-24T10:26:00.001-08:00

Electric guitars are not only tools of the trade, but some of the most personal statements of taste and style that you can make as an artist. The Fender Relic guitars deliver the tools for the job, with exceptional artistry applied to every instrument. These instruments also give an effortlessness and comfort to playing and an extraordinary statement of personal taste. In essence, Fender Relic guitars are the perfect synthesis of guitar craftsmanship and playability all the while being a perfect vehicle for your artistic expression. Fender Relic Guitars simulate 30 years of wear on a brand new instrument straight from the Fender Custom Shop. Every groove, bump, and bruise is there for a reason, however. Picking up a Fender Relic Guitar feels as if you put on every inch of wear on the neck and body. With this process, areas of the guitar neck and body that are naturally worn over time are already broken in, providing a remarkable ease of play. Players are frequently stunned by the feel of Fender Relic necks. These instruments have the feel of guitars much older, and consequently have a playability that will not come to a new instrument for many years. The body of the instrument also has worn areas where picking and arm motion occurs, eliminating even the most minute friction points between player and instrument. But these elements of a Fender Relic would not amount to anything unless these instruments delivered unparalleled tone. The thin nitrocellulose finish on Fender Relics allows the instruments’ wood to breathe and resonate like no other guitar. Fashioned after vintage instruments’ finishes, these guitars provide outstanding Fender tone, no matter what style of music you play. Fender Relic guitars are also the perfect solution to keeping vintage instruments at home and secure. Many players who own vintage instruments love the feel and play of these historic guitars, but can not risk gigging with them. Imagine a guitar crafted after your favorite 1957 Stratocaster, accurate to every last bump and bruise. Fender Relic guitars also provide a style to the player that can not be imagined with a new instrument. Simply stated, they look amazing and cool, like a vintage hot rod with a few dings and nicks in the paint job, but with an amazing amount of mojo under the hood. Stand out from the multitudes of players with an instrument that demands attention. The aging processes applied to the hardware of the guitar are simply astonishing in detail and historic accuracy, but with a modern functionality. These instruments are true works of art, but with a mechanical precision and exactness achieved only through meticulous guitar craft. Fender Relic guitars fuse all the reasons why we picked up guitars in the first place, so many years ago. Tone, craftsmanship, playability, and artistry all come together with Fender Relic guitars.

G&L ASAT Guitars

2009-12-23T14:58:00.000-08:00

Chances are you already know that the first mass produced solid body electric guitar was the Telecaster. Crafted by Leo Fender in 1949, this legendary design has been in the hands of countless rock, blues, jazz, and country musicians. These players have had a profound impact on the sound of modern music, thanks to Leo’s design. In 1979 Leo began his own company, G&L Guitars, with the intention of crafting this original solid body guitar the way it was intended to be made. With precision, skill, attention to tone and playability, but with modern appointments that are a necessity for today’s guitarist G&L Guitars’ ASAT are true modern classics. The original design of these solid body classics have been updated with G&L’s own Magnetic Field Design single coil pickups. These pickups utilize ceramic bar magnets rather than alnico magnets, and have adjustable iron pole pieces, so each string’s pole can be adjusted. With twice the output, these pickups remain quiet and yield an exceptionally warm tone. The patented saddle lock bridge features an Allen screw on the side of the bridge, allowing the saddles to resonate as if it were one large saddle, providing rich and resonate tone unparalleled in these classic designs. Some of the classic appointments to G&L ASAT guitars include Swamp Ash or Alder bodies, 7 1/2 “ or 12” radius rosewood or maple necks, individual brass saddles, tuners with sealed lubrication and adjustable knob tension, and matching headstocks. The variations available with G&L ASAT Guitars speak to the range of players who seek out these amazing instruments. Take on rock, blues, and country with these classic instruments. Just pick the G&L ASAT that is right for you. Double humbucker configurations, humbucker/single configurations, 3 pickup configurations with 7 pickup selections, P90 styled pickups, as well as semi-hollow designs are all available depending on your playing style and needs. Traditional finishes are available with the G&L ASAT, including classic lake placid blue, two tone sunburst, cherry burst, natural, and metal flake. Don’t forget the cream binding available on the body or neck. The options don’t stop there, either. Design your own G&L ASAT custom guitar, with all the features you need to take your playing to the next level. How about a bird’s eye maple neck with hand-rubbed Gun-oil tint and polished gloss finish, medium jumbo frets, and cream binding? This is a chance to work closely with G&L Guitars to build your dream instrument. G&L ASAT, a modern classic rooted in the traditions of Leo Fender.

Devi Ever Guitar Pedals

2009-12-23T13:24:00.001-08:00

The fuzz sound you have been seeking is now available from Devi Ever guitar pedals. Fuzz tones are an elusive guitar effect. There are many generic and mass produced fuzz pedals, but there are only a handful of fuzz pedals that deliver astounding overdrive, deep harmonic overtones, and distinctive voicings for the discriminating fuzz junkie. Devi Ever has created astonishing and wholly unique, boutique guitar fuzz tones. Devi Ever guitar pedals are hand made through an organic process of experimentation and interaction with the builder and her guitar. Through this method, circuits are changed and modified as the creation process unfolds, ensuring that the fuzz tones in Devi Ever’s guitar pedal line match the stunning soundscapes of classic fuzz drenched recordings of the past and the present. Many of the remarkable fuzz tones of Devi Ever guitar pedals are modeled on some of the most identifiable overdrive tones of alternative music, including a particular album’s dream Siamese. Some of the most innovative noise makers and earth shakers use Devi Ever guitar pedals. Not just modeled after these classic tones, create fuzzscapes you have only dreamed about, or have yet to discover. Vintage fuzz tones are accessible to today’s guitar players with Devi Ever guitar pedals. These circuits and pedals are not pristine copies that give generic tones or “cleaned up” versions of your favorite sounds. “Personally, I think you lose a ton of character and possibility with guitar tone if you are afraid to let the circuit be a little wild”, comments builder Devi Ever, Goddess of Fuzz. And these circuits do run wild, in good ways. Octavia fuzz tones run rampant through these pedals, as does crazed oscillation and surprising explosions of tone and sound. The inherent grit of the silicon chips in these fuzz pedals gives an dizzying array of dirt and sustain for today’s guitarist. As organic as it gets, Devi Ever pedals push the limits of your expectations for guitar fuzz tone. Housed in hand designed and painted enclosures, Devi Ever pedals are sure to find a place on your pedal board. With all the drive and gain you will ever need to explore new and miraculous fuzz frontiers, Devi Ever guitar pedals ensure a seamless blending of the fuzz sounds in your mind and the sonic possibilities of your guitar and amplifier.

Fender Custom Shop

2009-12-23T10:13:00.001-08:00

For 20 years, the Fender Custom Shop has brought artistry to the creation of iconic guitars. Players who have defined modern music with their association with Fender guitars have collaborated intimately with the Fender Custom Shop to bring their own signature instruments to the hands of collectors and players world wide. These Fender Custom Shop Artist Series guitars replicate the look and feel of some of the most recognized instruments in music. You may have heard some of the guitarists who play these guitars. They include Eric Clapton, David Gilmour, Danny Gatton, Merle Haggard, Yngwie Malmsteen, Jeff Beck, Albert Collins, John 5, and Dick Dale, to name a few. The breadth of artists that have played Fender Custom Shop guitars over the years attests to dynamic and versatile nature of these instruments. These artists’ guitars are crafted with a startling attention to detail and replication that is unparalleled. The Fender Custom Shop’s Custom Artist Series can put these iconic instruments in your hands, and the sound of history at your disposal.

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Orange Tiny Terror

2009-12-21T16:22:00.002-08:00

Pure British rock tone can come in small packages. The Orange Tiny Terror is a 15 watt class A valve head that can deliver monstrous guitar tone in the studio, on stage, or in rehearsals. Don’t underestimate the inherent power available to you with the Orange Tiny Terror. This valve head is rated British 15 watts RMS clean, meaning it will not back down from competing with 30 watt US amps. One 16 ohm and two 8 ohm outputs provides versatility. This valve head will drive a 2 x 12 cabinet with ease. Or plug it into a 12 inch speaker in the studio when you need pure overdriven rock. The Orange Tiny Terror will growl with a mid range bark that only Orange amplifiers can deliver. But this British bulldog can back down, too. The clean tone is exceptional, and adds to the versatility of this amazing valve head. With dual switching from 7 watts to 15 watts, the Orange Tiny Terror can be cranked to experience the full potential of naturally saturated valve tone at lower volumes. At 7lbs, housed in a hardy metal chassis, and a road worthy rugged case included in the low price, the Orange Tiny Terror’s boutique tone is available to any guitarist who craves substantial tone without a substantial price tag.

G&L Legacy

2009-12-21T16:22:00.001-08:00

The G&L Legacy is modeled after the most iconic and innovative guitar design to ever grace the hands of musicians. That wouldn’t mean much unless the G&L Legacy was also designed by the men who originally created that iconic and innovative guitar design in the 1950’s. Those men names are Leo Fender and George Fullerton. The same guitar craftsmen who designed that original solid body instrument in 1954 established G&L Guitars in 1979 and brought that original guitar design back as it was intended to be. That design includes an ash or alder contoured bodies, hard rock maple necks with maple or rosewood and 12” radius, dual fulcrum vibrato systems for improved stability, 3 single coil alnico pickups with 5-way switching, and the custom vintage finishes you would come to expect on such classic instruments. These are the classic designed instruments that have shaped the sound of popular music for over 50 years. Now, the same artistry that was inherent in the original designs of these instruments is available today in the G&L Legacy. But the tradition that is inbuilt with these guitars does not impede modern configurations of this legendary design. The improved tuning stability of the two point fulcrum vibrato system, humbucker equipped instruments, semi-hollow designs, as well as custom models are all part of the modern nuances in these classic guitar models. G&L Legacy guitars are the legendary instruments as they were meant to play and sound like in the 21st century, designed and crafted by the men who created them in the 20th century.

Electro-Harmonix Deluxe Memory Boy

2009-12-17T10:43:00.000-08:00

The introduction of the Electro Harmonix Deluxe Memory Boy poses the question; Can the distinctive delays and modulations of Electro-Harmonix be improved? Probably not, but the warm analog delay with lush modulation has been given an entirely fresh approach with the addition of tap tempo. With a simple 3 taps, control the tempo of delay times for unmatched versatility in analog delay. The Electro Harmonix Deluxe Memory Boy is a lush and fuzzy analog delay, with astounding modulation that can provide hallucinogenic sweeps and cavernous tones that can only be achieved with analog IC’s. The Electro-Harmonix Deluxe Memory Boy provides the same delay and modulations tones heard on countless classic records, but with additional features such as tap tempo and 5 different note subdivisions. Have significant control over the waveform as well as the effect depth with the Depth knob, and an effects loop allows you to add your own modulation such as phase or flange. Manipulate the limitless modulation and delay effects by using an expression pedal to control the Rate, Depth, Feedback, or Delay. By utilizing an expression pedal, the sonic sculpturing available to is limited only by your imagination. Combine this immense range of sounds with true bypass and an effects loop, and the Electro-Harmonix Deluxe Memory Boy is unprecedented in its functionality and possibilities.

Fender Relic

2009-12-11T17:16:00.000-08:00

If you’ve ever seen a 1967 convertible Mustang with just the right amount of wear and age, then the appeal of a Fender Relic is evident. If you’ve ever played a vintage Fender guitar with the same balance of pristine, vintage craftsmanship and natural aging processes then a Fender Relic is practically a necessity. Imagine a guitar that has undergone a 30 year of playing history, with the body and finish worn and torn in all the right places, and a neck that feels as if you’ve played it every night since you were sixteen. A Fender Relic will provide the right amount of wear and tear, comfort, and style of a well worn hot rod. All you have to do is get behind the wheel and make it yours. With the attention given to the aging process, making this guitar your own is as easy as tuning it up and gripping that well-worn vintage neck.

Guitar aging is not only a cosmetic process to ensure these instruments have a vintage style. It is also a process where the parts of the guitar which encounter the most friction are already worn in, so it feels as comfortable as your 1962 Stratocaster, but without the worry of continued wear on your vintage guitar. The thin nitro finish on a Fender Relic also allows the tone wood to brilliantly resonate, providing the discriminating player with all the vintage sound he could ask for. Yes, a Fender Relic may look cool, but this cool factor is coupled with a playability and tone that is unmatched….except with a real deal vintage instrument. A Fender relic will allow you to leave your vintage axe at home but it will also give you access to all the beauty of a vintage, aged guitar, without the vintage price tag. All you need to do is slip into the driver’s seat of a Fender Relic to feel its comfort and tone. All you need to do is start playing one to create your own historical classic.

Fender Custom Shop

2009-12-11T14:35:00.000-08:00

Started in 1987, the Fender Custom Shop in Corona, California has been responsive to the needs of the player, be it Eric Clapton, Jeff Beck or the musician who is ready to play his definitive instrument. Boutique appointments such as hand selected tone woods, custom neck radiuses, hand wound pickups, and precision vintage and modern hardware are offered on all models from the Fender Custom Shop. Moreover, Signature models from the Custom Shop can provide players with the sound, feel, and look of their icons’ instruments, from David Gilmour to Merle Haggard. This attention to detail and guitar craft characterizes the integrity of the instruments produced by this small, committed team of master builders. When you are ready to feel a dream in your hand, the Fender Custom Shop will deliver it to you.

So how does it feel to play a Fender Custom Shop guitar? How does it feel to have a combination of superior craftsmanship and unparalleled history in your hands? It feels like fifty of the most exceptional luthiers and guitar artisans in the U.S. working with the finest hand selected materials, with a profound attention to detail, and a skill level unmatched in guitar production. Simply stated, it feels like a Fender guitar should feel, as if you have been playing that instrument for 20 years. Imagine the ideal feel and tone of your dream Stratocaster or Telecaster. Then realize that this dream guitar has become a reality. The Fender Custom Shop, utilizing the original solid body designs of Leo Fender from 1951, creates instruments that are alive with history and infused with modern production ideals. This fusion of the historical and the contemporary characterizes the Fender Custom Shop’s brilliant imagining of the first solid body electric guitars.

Digitech Whammy IV

2009-09-23T16:22:00.000-07:00

Sometimes there is a pedal that just sticks in your head for days, weeks, or even months. Once plugged in, the sounds created by this pedal haunt your dreams and every waking moment that you don't have your guitar in your hand. Right now this pedal is the Digitech Whammy. The absolutely stunning variety of tones, sounds, and effects that can come from this hot rod red box are enough to drive a guitarist insane...or drive creativity over the edge. The Digitech Whammy pedal is the perfect tool for a versatile guitarist. Let's face it, it's a lot easier to take an electric guitar and a Whammy to a session than it is to haul out the pedal steel, the guitars all tuned up and down from each other, and the sitar. Just plug into the Digitech Whammy and you've got pedal steel licks, moveable harmonies, chorus, divebomb, and sitar sounds at your feet. The Whammy pedal has gotten me out of many tough situations and helped me discover more ways to apply harmony and melody to a song than any other pedal on the market. The first time a busted out a pedal steel lick over a jazz rhythm, the group I was playing with just stopped and stared. "What?" I said. "That was great, how do you make that bend with your Strat?" I pointed to my Digitech Whammy and did a shredding solo, changing octaves up and down without moving my hand position and smiled. "That's how" I said. From that moment on, I never left my Digitech Whammy at home. I even bought an extra and one night in frenzy of creative energy, I even strapped one to each foot and hooked them both up. My wife left me the next day but hey, I still have my Digitech Whammy.

Malekko 616

2009-09-22T17:30:00.000-07:00

Fun time. I love delay pedals and the new Malekko 616 is one of the funnest delay pedals out. This little analog delay monster is the newest offering from Malekko Heavy Industry. The Malekko 616 is versatile and natural sounding with built in modulation and a switch for true bypass or buffered output. Sounds like most analog delays right? You might think differently after you hear it. The Malekko 616 is one of the best sounding analog delay pedals available under $200. In fact, it sounds better than a lot of analog delays that cost well over $200. How, you say? That is the magic of Malekko.

The Mallekko 616 looks very unassuming and almost cute. The control layout is efficient and logical, saving space (so the pedal isn’t the size of your amp) and giving you plenty of room to make adjustments on the fly. The Malekko 616 features standard Time, Mix, and Regen controls that are pretty standard with white plastic knobs to make them easily seen on a dark stage. Above those, are the modulation controls. The Speed and Depth controls are central using smaller shaft pots than the larger controls. Flanking them is the on/off switch for the modulation and the true bypass/buffer switch. All easy to see, all easy to reach. Let’s face it, ergonomics mean a lot when you’re on stage or in the studio.

When you turn on the Malekko 616 the first thing you’ll notice (and one of the most important) is, NO CLOCK NOISE. Malekko put their brains into this pedal and finally solved the age old problem of most analog delay pedals by reducing the clock noise to almost absolute zero. The Malekko 616 is silent, period. The repeats vary depending on the true bypass/buffer setting. The buffered mode yields rich, full repeats that have a bit more high end and clarity to them before they decay. True bypass mode gives you warmer, darker repeats for a more Floydian experience. In either mode the repeats have a full 600ms available and have a very natural decay. Now the fun part…the Malekko 616 features some of the craziest modulation available in an analog delay pedal. Depending on the settings, you can have a fast moving Leslie sound, a smooth tremolo, or an out of this world whack-fest of pitch modulation that would drive anyone insane (unless of course, you already are).

In a nutshell, the Malekko 616 is cool, very cool. If you’ve been in the long (sometimes ever-lasting) search for a great analog delay that won’t cost more than your wife’s wedding ring, you’ve found the right pedal. The Malekko 616 is great sounding, cost effective, and (if you’re lucky) might even contain one of Malekko’s wooden nickels or rubber cockroaches (mine had the roach). So if you get one and hear something rattling around inside, take the back off and check it out before you call your dealer wanting another one.

Digitech Whammy

2009-09-15T14:39:00.000-07:00

The Digitech Whammy has made more of an impact on electric guitar than almost any pedal in history. Since its inception in 1991, the Whammy has graced the pedalboards of some of the most influential guitarists in music today such as; Jimmy Page, Tom Morello, Steve Vai, Dimebag Darrell, and David Gilmour. The coming of the Whammy brought a whole new world to guitar effects. The harmonizer and pitch shift functions gave guitarists the ability to emulate slide guitar, dive bomb, and modulate their signal like never before. This affordable harmonizer brought the sounds of high end studios to the stage without the crunch on the pocket book. Add to this the ability to control the harmonies and pitch bending effects with a built in expression pedal and suddenly the Digitech Whammy became the most versatile harmonizer ever made.
The Digitech Whammy is a multi-part harmonizer capable of delivering harmonies in 3rds, 4ths, 5ths, 7ths, and octaves and the expression pedal allows real time bending in between certain harmony intervals for emulating lap steels or changing keys seamlessly in the middle of a solo. The pitch bend function allows non-tremolo guitarists to dive bomb like a Floyd Rose with a Les Paul or even a hollow body! The whammy function goes all the way from two octaves up to a thunderous three octaves down in the divebomb mode. The Whammy also features two detune modes; shallow and deep. This gives a beautiful chorused sound that is perfectly suited for shimmering clean tones and chordal movements.
All functions of the Digitech Whammy track extremely well. Some harmonizers and octave effects just can’t keep up with those lightening fast runs or shreddy solos, not the Whammy. The pitch tracking algorithm is spot on even at Malmsteen speeds and the harmonies don’t have that digital quality to them like a ring modulator. The divebombs are smooth with no jumping steps as the pitch descends or ascends.
If you’re looking for a great harmonizer or pitch bender, the Digitech Whammy is it. No other pedal in the industry can keep up with this one-of-a-kind effect. Imitate pedal steel licks, change intervals on the fly, divebomb, get Floydian chorusing, even imitate a Uni-Vibe; it’s all up to you how you utilize your Digitech Whammy. It will open up a world of creative ideas that you’ve never before thought possible.

Orange Dual Terror

2009-09-02T12:52:00.000-07:00

The Orange Dual Terror is the latest offering in the line of portable, Class A tube amplifier heads. The big brother to the Tiny Terror features double the channels, double the wattage, and double the fun. The Dual Terror has two channels (Tiny Terror channel and Fat channel) that can be switched on the front panel or by an optional footswitch. The TT channel is voiced just like the little guy while the Fat channel features a slight low end boost along with a bit more gain, perfect for searing leads. While the TT featured 15/7 watt operation, the new Orange Dual Terror features 30/15/7 watt operation. There is a switch in the front for Full/Half power and a rear mounted switch for 4 output tubes or 2 output tubes. This gives the Dual Terror versatility in the studio, the bedroom, and on the stage. The 30 watt mode features enough headroom for the Dual Terror to kick out sparkling high end without breaking up too much and enough volume to push a 412 cab, or even two! The Orange Dual Terror is the latest in portable, versatile, Class A tube amplifiers that will make boutique amp builders cringe over the price tag.

2009-08-20T16:10:00.000-07:00

Malekko Ekko 616 Analog Delay

The Malekko Ekko 616 Analog Delay is the latest offering in affordable analog delay pedals. The Ekko 616 is a true analog delay pedal featuring 10-600ms of pure analog delay that sounds like a much higher priced pedal. Priced to get on the pedalboard of the working musician, the Ekko 616 has true bypass with a switchable buffered output for clarity and control of those long cable runs. Malekko has mastered the analog delay with the Echo 300 and Echo 600, now the Ekko 616 is coming in at a lower price point with adjustable modulation and possibly the lowest clock noise on the market. The Ekko 616 is voiced brighter than most analog delays for more clarity and features an internal volume control to set the pedal up to match your rig or tastes. The repeats decay musically, not ratty like other low priced analog delays, and the true bypass mode is perfect for warmer, Floydian repeats. Get on the bus and pick up the Malekko Ekko 616 for your rig.

Latest Video Demo from Pro Guitar Shop

2009-07-28T10:31:00.001-07:00

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Lovepedal Les Lius - Limited Edition Creme

2009-07-06T15:38:00.000-07:00

The Lovepedal Les Lius is an interesting little guitar pedal. Designed to give you the tone of small, obscure 50’s combo amps. The 3 way switch provides 5E3, High Power Twin, and Master Vol TCHULA. These three classic guitar amplifier tones are further enhanced by a 2 stage gain stack. This allows any of the tones to be used as a boost or an overdrive.

If you’re ready for some vintage American amp tones, look no further. Lovepedal has come through for you with the Les Lius. Unlike the mass market “amp in a box” pedals, the Les Lius is packed with premium components and Lovepedal’s original design. This is the little pedal that could. Bring back the old time rock n’ roll with the Lovepedal Les Lius.

Ampeg AMG100 Guitar

2009-06-30T16:11:00.001-07:00

The Ampeg AMG100 is a great new guitar from the people who brought you the Dan Armstrong Plexi guitar. With features like an interchangeable pickup, fast neck and a light mahogany body, the Ampeg AMG100 will be huge.

Diamond PGS Custom Shop

2009-04-25T11:28:00.001-07:00

A limited run of custom painted pedals from Diamond Effects. The Custom Shop Memory Lane 2 and Compressor were made exclusively for PGS. Quantities are limited, so get one before they're gone!

Mad Professor Fire Red Fuzz

2009-04-16T21:01:00.001-07:00

Mad Professor Fire Red Fuzz Pedal

The Mad Professor Fire Red Fuzz (FRF) is a fuzz pedal that is easy to play with long sustain and lot of tone variations. The pedal has a compressed, deep effect to allow equal sustain throughout the fretboard. The Tone control was specifically designed to allow tones from mellow fuzz, through slight midcut to thin bright fuzz. The Mad Professor Fire Red Fuzz is not another variation of a classic fuzz design but an unique pedal with its own character and extremely versatile Tone control. It is great for recording different layers of Fuzz tones from haunting dark to cutting thin bright. What ever setting you use the tone is always very musical and controllable. Like all Mad Professor pedals FRF is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.
Mad Professor Fire Red Fuzz Controls:

* VOLUME: Sets the level of distorted signal
* FUZZ: Controls fuzz depth from just slight to heavy fuzz
* TONE: controls EQ of fuzzed sounds: mellow to CCW rotation, slight midcut in mid position and thin fuzz to fully CW rotation.

Fulltone Fat Boost 3

2009-04-09T17:09:00.001-07:00

The Fulltone FB-3 Fat Boost 3 is ultimate boost pedal from Mike Fuller at Fulltone. It takes all the best features from the first two FatBoost pedals with a couple of additional improvements. If you are a fan of the first two, this one will soon be a part of your signal chain. The Fulltone FB-3 Fat Boost 3 is a Discrete Class A FET pedals that adds up to 35db of distortion free gain without messing up your tone. True bypass switching compliments of Fulltone’s own 3PDT switch ensures your sound will not be compromised when the pedal is off. This pedal really allows for clipping in a very musical almost tube like way.

The Fulltone FB-3 Fat Boost 3 features the 11 step FET Bias “Drive” Knob, a Volume know and two small pots to alter the Bass and Treble frequencies. If you have been searching for a boost pedal that allows you to get that tube amp on “10” sound without having you neighbors call the police this baby may be the boost you have been looking for.
Fulltone FB-3 Fat Boost 3 features:

* 11- position Gain control
* Additional stage of FET
* Cures v1's huge Bass increase and dull high-end issues
* Class-A, FET (Field-Effect-Transistor)
* 35db of non-distorted Gain
* Super-Bright LED
* Fulltone 3PDT switch

Fulltone Mini Deja Vibe 2

2009-04-09T08:08:00.001-07:00

The new Fulltone Mini Deja Vibe 2 is a perfect clone of the original UniVibe with the added benefit of True Bypass for tonal transparency. Super slow, dripping, vintage vibe tone makes the Fulltone Mini Deja Vibe 2 a must-have.

Malekko Spring Chicken

2009-04-06T19:40:00.001-07:00

The Malekko Spring Chicken Reverb was born from the desire to have all the tone of a traditional spring reverb pan in a small pedal. If you have been looking for the same thing try the Malekko Spring Chicken Reverb today.

Digitech Timebender Delay

2009-04-03T18:45:00.001-07:00

Vox Night Train

2009-03-31T17:25:00.001-07:00

The Vox Night Train NT15H Guitar Amplifier is a new addition to the Modern Classic series. This little head packs a powerful 15 watts with an attenuator switch for 7 1/2 watts. Check out the new Vox Night Train NT15H Guitar Amplifier.

Xotic Robotalk 2

2009-03-30T20:22:00.001-07:00

If you thought the old version produced some amazing effects, wait until you check out the new Xotic Effects Robotalk 2 Envelope Filter. Now with two separate envelope filter sounds the Xotic Effects Robotalk 2 Envelope Filter is twice as funky.

ZVex Vextron Distortron

2009-03-29T10:41:00.001-07:00

ZVex Vextron Distortron
The all new ZVex Vextron Distortron pedal is finally here. If you have been dreaming of buying your first (or maybe fifth) ZVex pedal but could not gather up the cash, this new series of lower priced pedals might just be the ticket. The new ZVex Vextron Distortron features simpler graphics than you have come to expect, but the sounds are pure stompbox heaven compliments of Zachary Vex.

The ZVex Vextron Distortion features the same distortion circuit as the Box of Rock with the addition of a gain boost switch and a sub frequency control switch. If you have been wanting the sound of a Marshall JTM45 non-master volume cranked up but haven't been in a position to spend $2000, the ZVex Vextron Distortron could just make your dreams come true. The knobs are self explanatory and control Volume, Tone and Drive. The sub switch adds increasing amounts of sub from 1 to 3. When switched to 3, the ZVex Vextron Distortron has the same sub level as the Box of Rock. The Lo setting on the gain switch gives you the same gain as the Box of Rock, while the Hi setting gives you increased gain. This is a bulletproof pedal at a great price. Check out the new ZVex Vextron Distortron today.

Digitech RP1000

2009-03-21T10:44:00.001-07:00

The Digitech RP1000 is Digitech's new flagship modeling guitar pedalboard, and let me tell you, it's a gunboat. It features an incredible cornucopia of guitar tones with 160 different effects and 200 presets. One of the Digitech RP1000 's most incredible features is the extensive routing and switching capability it offers. It integrates perfectly with your existing amp and pedals, allowing you to combine internal effects and processing with your own external stompbox effects. This is an amazing feature previously only found on custom built switching rigs costing thousands of dollars. With the Digitech RP1000 anybody can switch like a rock star.

Earthquaker Devices Hoof Fuzz Pedal

2009-03-07T15:24:00.001-08:00

The EarthQuaker Devices Hoof Fuzz Pedal is a versatile fuzz pedal from this super hip one man operation. Featuring a germanium/silicon hybrid layout that is loosely modeled after an old army green Russian Big Muff only tighter and cleaner, the Hoof Fuzz is a great choice if you are looking for a compact pedal board friendly that can make you current guitar amp combo sing with fuzzy goodness. With a range of fuzz sound that can take you anywhere from Smashing Pumpkins to Sonic Youth and back, the EarthQuaker Devices Hoof Fuzz Pedal is a winner.

Vox Joe Satriani Time Machine Delay

2009-02-19T15:47:00.000-08:00

The Vox Joe Satriani Time Machine is the latest collaboration between Vox and Joe Satriani. The Time Machine is a dual-mode delay pedal that features two delay modes and a Hi-Fi/Lo-Fi switch. This delay is easy to use and features a boatload of great sounds.

In keeping true to Satriani’s playing style, the Satriani Delay provides both “modern” and “vintage” delay modes. Use the modern mode when clarity and fidelity are of utmost importance. For example, if you are using a stereo amp set-up with ping-pong delay, the modern mode of the Time Machine replicates every note with precision and clarity.

If you’re the type of player who likes things a bit dirty and raw, the Time Machine’s vintage mode won’t let you down. The vintage mode sounds like a classic tape delay unit, perfect for those Hendrix inspired licks. And a proprietary saturation circuit in the Satriani Delay creates a warm, analog sound with a nice sense of distortion. There is also a slight modulation in the vintage mode, which produces the subtle warbling of a tape delay.

Another great feature of the Time Machine Delay is the Hi-Fi/Lo-Fi switch. Regardless if you’re on stage or in the studio, this delay can blend perfectly with your surroundings. Need a transparent, uncolored sound? The Hi-Fi mode has got you covered. Looking for a little grit? Check out the Satriani Delay’s Lo-Fi mode. This mode provides a distinctive EQ that combines both high-pass and low-pass filters precisely adjusted to Satriani’s taste.

Did I mention how versatile the Vox Joe Satriani Delay is? From its numerous functions to its wide range of sounds, this pedal is truly one of a kind. Delay time is unbelievably huge - from 30ms slapback to almost six full seconds of delay. The Time Machine also includes a tap tempo switch. You can set the delay as triplets, eighth notes, dotted eighth notes or quarter notes depending on the delay range position setting. And the Vox aesthetic tradition is carried forward with its chicken-head knobs, which allow for super-fine adjustments on the fly.

The Vox Time Machine Delay has two output jacks, which allow the “dry” or unprocessed and the “wet” or processed sound to be output separately. Try connecting each output to separate amps for optimal spaciousness. Once again, Vox knocked it out of the park with the Joe Satriani Time Machine Delay.

Xotic Effects Pedals

2009-01-23T17:07:00.001-08:00

Xotic Effects produces wonderfully manufactured pedals with tons of tone and character. From their infamous trio of overdrive and boost pedals to down and dirty bass overdrives and preamps all Xotic effects are manufactured with high quality components and true bypass switching for great tone whether on or off.

The Xotic BB Preamp is probably the most recognizable name in their lineup. This distortion/overdrive pedal brings out the best in British character with a high resonant peak and clear, concise gain structure. Capable of massive amounts of gain, the BB Preamp stays tight and clean at all gain levels. It’s perfect as a dirty boost or a distortion pedal.

If you’re looking for an all around overdrive that’s not over the top the Xotic AC Booster shines magnificently. The AC Booster features very open overdrive tone with little to no compression for that awesome tube amp breakup. It can be used as a boost on the front end or a primary overdrive for low to medium gain applications.

To round out the infamous trio, the Xotic RC Booster is the clean boost brother to the other two. Super transparent and tight sounding, the RC features a little bit of grit when the gain is turned up but stays transparent and retains the quality of your guitar tone at any setting.

Since some of us want more than just a boost or just an overdrive, Xotic has seen fit to produce the Plus pedals. The Xotic AC Plus Overdrive is an AC Booster with an extra boost pedal built in. All the features of the AC Booster are present along with a compression switch and another boost channel featuring Volume, Gain, Tone and a Boost switch for that extra kick. The Xotic BB Plus Distortion is similar. This gives you a BB Preamp on one side with an added compression switch and a boost pedal on the other side for stacking fun and extra kick.

Some older effect pedals just sound too good to lose even though the bypass sucks or they are way too over the top. The Xotic X-Blender takes that problem away for you. The X-Blender is a true bypass loop pedal to take those tone suckers out of the chain when not in use. More than that, it also has a blend function. This allows you to blend the amount of effect on the loop into your dry signal for dialing in just the right amount. How sweet is that?

Now we haven’t forgotten about you bass players either. Xotic Effects has a lineup of pedals just for you. The Xotic Bass RC Booster is a clean boost/light overdrive pedal voiced specifically for bass guitar. It’s perfect for light grit or just boosting signal for lead work. Next, the Xotic Bass BB Preamp is a great full on overdrive/distortion pedal. The Bass BB will give you everything from grit to grind so saddle up when you turn this one on. The newest in the lineup is the Xotic Trilogic Bass Preamp pedal. The TriLogic is a studio quality preamp with an open warm sound unlike a lot of preamp pedals. There is a Gain knob for grit and a Mid Shape switch for voicing your axe. The Trilogic also features Bass and Treble controls as well as an Active/Passive switch.

Xotic doesn’t only make overdrives and boosts. The Xotic Robotalk is their envelope arpreggiator. This funky little box provides liquid squishys as well as awesome filtering and arpreggiation.

Xotic Effects continues a tradition of excellent effects and tone to this day. If you’re looking for serious tone without the hype, these are your guys.

Pigtronix Effects Pedals

2009-01-23T10:59:00.000-08:00

Pigtronix has taken a different approach to effects pedals. In an age of “vintage” sensibilities, Pigtronix is one company that is not afraid to forge ahead instead of step back. Almost all Pigtronix Effects feature multiple footswitches and functions. The designs are completely original and new. They are not about making an old circuit better, they make new circuits with new sounds for a new day and age. Just because some music is timeless (I mean, you can’t ever forget the Beatles or Led Zepplin) doesn’t mean that everyone wants vintage sounding effects. Pigtronix knows this and delivers.

The Pigtronix line up is unique and original just like their name. The Pigtronix OFO Disnortion is an overdrive, fuzz, and octave effect all in one. Each effect can be used independently or along side each other for sonic soundscapes that can only be described as incredible. The overdrive is an original design, not just a tube screamer clone. The fuzz has some vintage tint to it, but fuzz is a vintage effect. The EQ settings can drastically take the fuzz from vintage and sweet to modern and blasting and beyond. The octave effect is the only one in the Pigtronix lineup that was based on an old circuit, the Tycobrahe Ocatavia. That is a time tested and proven circuit, but the Pigtronix version features a Filter control for dialing in some more ring mod type of tones. The original didn’t have that.

The latest in the lineup is the Pigtronix Mothership Analog Synthesizer. Gone are the days of funny cables and MIDI interfaces for your guitar. The Mothership works by just plugging in and playing. This monophonic synthesizer is 100% analog and works for any instrument, bass, horns, cello, even voice. Now you can get old school Moog and Oberheim synthiness from the instrument of your choice. The Pigtronix Mothership also features a unique note tracking circuit that puts it dead on, even when you’re shredding and the intelligent ring modulator along with the sub octave can make one note sound like a chord.

For simplicity’s sake, everyone has to have an overdrive/distortion pedal without all the frills. That one would be the Pigtronix Polysaturator Distortion pedal. Based on the Disnortion’s overdrive circuit, the Polysaturator adds a Class A JFET booster to the front end and has a slight re-voicing of the gain circuit to bring forth a very Plexi-ish feel. The Polysaturator will go from mild overdrive to blistering distortion and the active EQ circuit is very interactive and useful for shaping your tone.

Lots of players love to have a compressor as well. The Pigtronix ASDR Compressor can fill that roll, and then some. The compressor circuit is smooth with crisp compression and tons of sustain. There is also a blend knob to keep some dry signal in the chain. That’s where the normality ends. The ASDR features variable Attack and Decay that are both footswitchable. These functions allow you to get anything from volume swells, to cello-ish tones, to choppiness and tremolo. You can also externally trigger the Attack and Decay functions.

The Pigtronix Phi Echolution Delay pedal is the be-all end-all of delay pedals. This hybrid digital/analog pedal features tempo subdivision, an analog overdrive, LFO based modulation, and tap tempo. There’s way too much to list but the subdivisions can be used independently or together for some of the most outrageous sounds you could imagine. You have to hear the Echolution to believe it.

Last is the Pigtronix EP-1 Envelope Phaser pedal. Everyone needs a phaser right? How can you play Van Halen without a phaser? Simple, you can’t. The EP-1 can get you that lush sweeping phase tone that is straight from the Phase 90 but it can do a whole lot more as well. The Envelope side can be used on it’s own with adjustable sensitivity and sweep for that down home funk ala Bootsy. That’s right folks, it can act as a straight up envelope filter! The envelope can be controlled by your dynamics or by an external trigger. The Phaser side is classic swooping phase, but then you take into account that you can control it via the onboard LFO or the Envelope. This opens up a world of possibilities.

In short, Pigtronix has taken a huge step forward in effects design. By shunning the demand for more “vintage” sounding effects and “I want that Eric Johnson tone”, they have come out on top of the coming wave of modern music. Not only that, but any Pigtronix effect can be used for classic rock, country, jazz, or whatever. You just need to know how to apply it and not be afraid to try something new.

Fender Road Worn 50's Tele

2008-12-30T09:54:00.000-08:00

The new Road Worn Series of guitars from Fender is here. One of the top offerings in this line is the blonde 50's Road Worn Tele. This twang master is lovingly aged by Fender to re-create the look and feel of an actual 50't Telecaster that has seen every club around the world. The aging is realistic and it feels just like a guitar you've been playing for years. The Fender Road Worn Tele is built to 50's spec except for the addition of Fender Tex Mex pickups which add a bit of bite to the traditional Tele tone. The Fender Road Worn Tele is a perfect guitar for someone (like me) that wants a relic but can't swing the large price tag.

Fender Road Worn Guitars

2008-12-30T07:13:00.000-08:00

Fender has been at it again. They have just released a new series of MIM guitars: Fender Road Worn series.

The line of guitars features a road worn look playing on the relic concept only previously featured on high end custom shop guitars. These guitars were produced to hit a new, more affordable price point in the relic style six strings. The new Fender Road Worn line is chock full of mojo and vibe from an era gone by. I know that Fender has been developing the concept for this line for a number of years. It would be very interesting to see the manufacturing process they have come up with for this mass produced line. Check out the Fender Road Worn series at ProGuitarShop.com today.

All about the recording process at Proguitarshop.com

2008-07-23T15:32:00.000-07:00

A lot of people are curious about our recording process in making our demo videos. Since there are over 200 vids in our online resource, the most important aspect is that we remain consistent. For example, when comparing a Fulltone OCD to a Xotic BB Preamp, you would want the same amp settings, guitar and mic setup right? That’s precisely what we do. The surrounding environment can also have a great impact of your sound, e.g., playing a club with brick walls will give a livelier and brighter sound than an open air festival where the sound can escape. To keep our surroundings constant, we placed the gear in a neutral environment, a sound proof vocal booth. It was important to eliminate any other variables that could taint the tone such as reflective walls or unwanted vibrations. Any quick listen to some living room demos with a camera mic will refresh your memory on why these variables are undesirable.

Let’s continue by examining the first element in the signal chain, the guitars. For single coils, we ordered a G&L Legacy (Strat style) and a G&L ASAT Classic (Tele Style) just for the purpose of these demos. Both guitars have vintage output pickups as to not color the tone too much or make a usually bright boost sound muddy, for example. The humbucker crowd can hear owner Aaron’s overhauled Epiphone Les Paul with TonePros hardware and Seymour Duncan Alnico II Pro pickups. Alnico magnets in pickups are known for producing a warmer tone with a rounder bottom end. The Duncans clean up really well when backing off the guitar volume; ideal performers for the “clean up” portion of an OD demo. Besides, Slash is known for playing these pickups in his Les Paul so how could you go wrong? Also, we found that the tone of Overdrive and Boost pedals can drastically change with a Strat or LP plugged in, so we’ve made a point to showcase both guitars in those cases. With modulation or Delay effects, mostly people want to hear how much high end is being retained, so we start with the brighter single coil signal.

Next, is our amp of choice, the 65 Amps Soho. The 65Soho was selected because of its ability to handle pedals very well, and this is mainly due to its flat and neutral tone. This EL-84 based, tube rectified amplifier was designed to be used in the studio, thus being able to create a wide array of tones. By using top notch components, tubes and transformers, the noise level is also kept low, which would otherwise misrepresent a low noise pedal. The handwired 20W Soho is a single channel design but features a Bump section that transforms the American styled tone into a mid boosted British amp. When I demo something that is designed to boost mids, I leave the Bump feature off to maintain the integrity of the pedal. However, higher gained OD’s and Metal type distortions will have the Bump feature on, since it also rolls off some high end, avoiding those harsh and fizzy tones. The rest of the amp settings are very consistent, the 2x12 cabinet adds plenty of lows so the Bass is backed off to 9 o’clock to avoid muddiness. Treble is set to 12 o’clock; again this modest setting helps to maintain the sonic integrity of the pedals.

Diving deeper into the process, let’s look at the speaker and mic choice. As mentioned, we use the 65Amps 212 cab, which is filled with a Celestion G12H and Alnico Blue speaker. After doing some recording tests, we found the Alnico Blue to record a smoother tone with a flatter midrange. This is not only important in keeping the tone relatively flat, but it just sounded better in this situation! Although, the low end from the G12H is definitely finding its way to the mic. This brings us to the device picking up all the sound waves, a Royer R-121 ribbon mic. Ribbon mics are quickly having a revival, due to their smooth and natural sound replication. The sound of the R-121 is true to life and has a flatter response which avoids harsh overtones that would normally be EQ’d out. I can remember the first couple of mic placement tests with this mic and it literally sounded like the audio monitor was the amp itself. Also, the Royer R121 was chosen due to its professional use in studios for years and years; it was actually employee Jamie who recommended this mic after using it at recording school.

To help add dynamics and vintage flavor, we chose the Universal Audio Solo/610 Tube Preamp. The UA Solo is based off the legendary Putnam 610 recording console, which has captured musicians like Frank Sinatra, The Beach Boys, The Doors and Van Halen. The settings used on the Preamp allow for the 65Soho to be played at louder than bedroom levels without overloading the mic signal. After the signal is sprinkled with superstar dust, it leaves the tube pre and enters the digital realm of the RME Fireface 400 interface. These high quality Firewire recording devices are known for their stunning A/D converters and supreme stability. The Fireface400 also has plenty of clean headroom, so the overdrive you’re hearing isn’t coming from crushed ones and zeroes. I should also mention that the vocal mic, a large diaphragm Shure KSM27, runs straight into the RME’s mic pre, for broadcast quality sound.

So what about the video itself? The camera used is a Sony HVR-A1U, which delivers an HD quality image straight to the computer rather than a tape. This way, it saves a media converting process of MiniDV to hard drive. After the session is synced up and ready to go, it gets chopped and mixed by Sony’s Vegas Pro editing software along with the aid of a few Waves plug-ins. From there, I can turn my 30 minute sauna of a recording session into a glossy 10 minute product demo for everyone to see! For a more general glimpse at the recording process, check out the Behind the Scenes page at ProGuitarShop.com.

Bad Cat Amplifiers are here!

2008-07-23T10:40:00.000-07:00

Fresh off the truck is our first batch of Bad Cat Amplifiers! Since 2000, These top quality, vintage voiced tube amps have been used by such musicians as Kenny Chesney, Keith Urban, Panic at the Disco, Counting Crows and The Arctic Monkeys. There are a wide variety of handmade models to choose from, starting with the studio worthy Bad Cat Mini Cat II. This single El-84 driven 5 watt tone machine gives you multiple sounds via its interactive Bass, Treble, and Master controls. Don't let the low wattage fool you, a point to point class A amp such as this can really push a 12" speaker into creamy overdrive, with sustain to die for! The MiniCat II also features a line out for recording options and 4,8,16 ohm selector. This little valve amp could easily be your secret weapon for recording!

A little up the road in wattage is the 15W BadCat Cub II. We chose the model with Reverb for a little extra dimension. With a pair of EL84's, this versatile amplifier contains a 5-way rotary tone switch along with the same interactive controls as the Mini Cat. Higher wattage means more headroom, along with sparkly clean tones that easily transition to warm and dirty blues tones with ease. Why not hook up an extension cab and take this Cat to your next gig?

For those of you looking to rock out a little harder, there's the new El34 driven BC-50 Head. This two channel Class A masterpiece delivers vintage Marshall crunch sounds with a heavy array of tones at your fingertips. The no frills channel 1 uses a 5-way tone control and a volume for simple 70's Rock and hot rodded flavors. Channel 2 will make your head spin with all the extra options; treble, bass, midrange, Bad Cat's revolutionary 5-way rotary mid sweep, edge, and a master volume. Add to that the half power switch on the back chassis and as well as two voicing modes! Use the line out for recording or just sit this baby on your favorite 4x12 cabinet.
The looks of the Bad Cat amps are classic but the unmistakable sound is where its at. We are excited to have another boutique line at the shop and you can expect some video demos in the near future. Visit Proguitarshop.com for more info on these sweet tube delights!

Barber Tone Press Compressor

2008-07-23T09:21:00.000-07:00

Howdy folks! When it comes to guitar compressors, everyone has a different idea of what it should sound like. Country pickers might like a squeezed tone with a quick attack and lesser dynamics but rockers might not want a squashed tone but more transparency. With the Barber Tone Press, you can dial in just a pinch of compression or full tilt due to its versatile design. This Parallel Compressor preserves your dry analog signal and runs it side by side with the affected signal, thus letting you Blend between these two for infinite tonal combinations. For those players who like to preserve their natural pick attack and tone, all you have to do it blend more dry signal to recapture that natural feel, and let the Sustain knob takes care of the intensity. A classic compression sound can be had by blending half and half of wet and dry, with the sustain at 75%. You'll instantly notice a balancing in the volume of your strings as well as added sustain. The TonePress is perfect for funk, country, rock, metal, you name it because it won't color your tone. Overall, this pedal adds a warm character to your rig while adding note definition at clarity. Parallel compression has been used in recording studios for decades for its ability to equalize overall volume without being "heard." Finally, there is a boutique compressor out there that is versatile enough for every player. Check out all the Barber Effects at Proguitarshop.com!

ModTone Pedals

2008-07-22T15:27:00.001-07:00

New to the shelfs at Proguitarshop.com is the complete line of affordable and classic sounding ModTone Effects. These rugged MXR sized pedals will easily fit on your pedalboard without taking too much real estate on your pedalboard or cash from your wallet! First to get opened at the shop was the Modtone Vintage Analog Delay, which uses a bucket brigade chip to emulate natural sounding repeats with a warm and strong wet signal. Although the range is somewhat limited, 130-350ms, you can still get classic slapback tones as well as the unmistakable Gilmour trot! We were impressed with the tone quality for the price and cleanliness of the echo repeats.
If Modulation's your thing, there are the Atomic Phaser and Aqua Chorus pedals. First, the MT-PH produces a luscious and juicy phasetone that compares to the 70's era phasers. With a depth and speed knob, it's already more advanced than your average vintage phase shifter! The rate can achieve slow, whirling winds or Leslie type tones. Rolling the depth back can make it more subtle with less low end throb.
The MT-CH Aqua Chorus is also a two knob-er than adds a familiar detuned doubling effect heard in most 80's tunes. Faster speeds will also mimick the warble of a Vibratone with slower speeds adding shimmer and sparkle to your clean tones. One thing is for certain, Mod tone effects all share the warmth of analog.
Last is the overdrive/distortion category. The MT-OD or Dyno Drive replicates the tone of a vintage overdrive pedal for extra gain, harmonics and tube tone. A mild overdrive could be all you need to push your tube amp into saturation while retaining the natural tone of your rig. If you're looking for a little more gain and bite, there is also the MT-DS or Speedbox XL Distortion. This little green devil will add more sustain with it's custom voiced overdrive circuit, resulting in a massive lead tone that could possibly melt faces.
Be sure to visit Proguitarshop.com for more info on these bang for your buck effects!

Homebrew Electronics Power Screamer

2008-07-22T15:02:00.000-07:00

For years now, guitarists have been obsessed over the mystery and tube warmth of the Tubescreamer. You can't escape it whether it's in reissue form, a clone, or hybrid of old and new. But just as famous is the common problems guitarists have with the TS; not enough low end, too compressed or not enough output and gain Well, Homebrew Electronics might have just ended your search with their HBE Power Screamer. A three position diode switch gives you a classic mid hump tone, bass boost or a heavy tube sag. Couple this with a highly usable Tone control and a switchable 10dB boost and "Problems solved!" The PowerScreamer can handle every Tube Screamer tone under the sun with one pedal. As with all Home Brew effects, this stompbox uses high quality components in a rugged enclousure. Check out the Proguitarshop.com demo video below!

Proguitarshop Comparison Videos

2008-07-22T14:02:00.000-07:00

Recently, ProGuitarShop.com has released a string of unbiased comparison videos that group similar effects by type and price. The first video, "British Overdrives for under $150", includes the ever popular Fulltone OCD, MI Audio Crunch Box, and the Barber Direct Drive. All three pedals are capable of that cranked Marshall tone without being overly compressed while maintaining the guitar's natural tone. Unlike other videos that try to find a winner in the end, all these hand chosen effects end up winning in their own right. They all do the job, just differently.

The second in the series goes a little higher in price with "Marshall in a Box Around $200." Included are the Xotic BB Preamp, ZVex Box of Rock, and the LovePedal Purple Plexi 800.
If you want your amp to sound like a cranked up stack, any of these pedals will do the job, just to different degrees. The BB Pre retains the most transparency with the added grit of a British tube amp while the Box of Rock emulates the sag and warmth of a JTM45. The Purple Plexi is for those who want a more modern Marshall tone, with loads of gain and a tad bit more compression. All 3 clean up, boost your signal beyond belief and sound amazing! Again, it's up to you to find YOUR tone.

Third is something a little different, "Analog Delays under $200", featuring the HBE Mimick, MXR Carbon Copy, and Malekko Echo 300. Your quest for an inexpensive bucket brigade delay is over and you have 3 different flavors of repeat tone and decay. Whether you want a subtle and long lasting trail or bright and dirty echo that cuts through your speakers, you can find it within these pedals. Every effect is True Bypass for zero coloration and best of all capable of going into spaceship freakout oscillations!
The comparison videos are a bonus to the extensive video library pioneered by ProGuitarShop.com, with over 250 demos!

Malekko Echo 600 Dark or Light

2008-07-22T13:18:00.000-07:00

You may know Malekko Heavy Industry Effects by their wild and fuzzy Assmaster pedal. But the same pedal geeks have also designed a classic bucket brigade delay that can be used on bass or guitar, the Malekko Echo 600. With up to, you guessed it, 600ms of delay, this high quality stompbox gives you warm and strong repeats with plenty of headroom and low noise. There are actually two versions of the E600; a Dark with more bass in the effected signal and less chaos during oscillation and light; the Bright which has more upper frequencies in the repeats that beg to go into infinite spaceship feedback! Both versions have a retro robot graphic and the same controls, Delay Range, Echo Level and Excess (repeat), as well as a second output that can pass a wet or dry signal. The guitarist also has the option of choosing between a high quality buffered output or True Bypass. Now before you jump to the True Bypass option, there are a few benefits to using a buffer. First, you can hook up a second amp to the 2nd output and let the repeat trails continue for seamless transitions. Second, your dry signal will have more transparency and clarity. But if your current rig doesn't allow for a buffered pedal, you have some options.

Whether you need a subtle delay to add some sonic landscape or a edgier sound that cuts through the mix, the Echo600 will deliver an organic echo that begs to be left on. The best and last feature in the expression pedal input, which gives you hands free control of the Excess knob for volume swells and greater control of those oscillating repeats. Be sure to check out all the Malekko products at Progutarshop.com
Thanks for visiting!

Carl Martin Echotone Delay Pedal

2008-07-21T14:49:00.001-07:00

Carl Martin has been making professional grade pedals for musicians since the early 90's. If you have ever looked at their impressive product line, you can tell that there is an effect for virtually every guitarist. When it comes to Delay, these pioneers from Denmark have multiple pedals to offer . Recently, they've stayed away from the classic Blue and Purple design and released the vintage styled Carl Martin Echotone. This hybrid analog/digital delay emulates the sound of a vintage tape echo with a freshly installed tape. Believe it or not, a properly maintained tape delay can produce a crisper and fuller sound than most analog delays. So, this pedal falls nicely between the glassy tones of a digital delay and a bucket brigade effect.

With features like an effects loop, a range up to 1200 milliseconds, as well as tap tempo and manual modes, the Echo-Tone goes leaps and bounds beyond an old tape machine. I hooked in a Homebrew Electronics Chorus to the effects loop to emulate some tape Wow and Flutter, which added an organic quality as well as a subtle chorus-tone to the affected signal. The warmth and decay of the repeats can also be manipulated; roll the tone back for warmer and long lasting repeats or past noon for a grittier repeat that begs for some spaceship oscillation! Switching back and forth between manual and tapped delays during oscillations make for some staggering train wreck squeals.

Whether you want a simple slapback tone, or a long spacial sounds, the Carl Martin EchoTone gives you a fat and natural sounding delay without the fuss of a tape echo. Be sure to visit ProGuitarShop.com for more info.

MXR CAE MC-401 Boost/Line Driver

2008-04-04T16:14:00.000-07:00

The new MXR Custom Audio Electronics Boost/Line Driver MC-401 is the product of Bob Bradshaw founder of Custom Audio Electronics and MXR; the newest tag team duo of mad high-fi creation. Bradshaw has been creating innovative pedal designs since 1980, but only in limited quantities for select clients.

The MXR MC-401 is the first offerings from this interesting marriage. The MC-401 is a high end version of the MXR Micro Amp. One on/off switch and a single potentiometer is all you need. The pedal boasts a boost from 0 to +20dB. It’s a perfect solution for long cable lines, boost before a weak pedals, signal conditioning problems, and mis-matched volume level due to switching between hum-buckers and single coils.

Even in the 0 position the pedal gives your tone a hi-fi clean feel when switched on. The only way I can describe it is like taking a deep breathe in your basement versus taking one in a Northwest forest just after a fresh rainfall. The MC-401 also has the added advantage of 9 or 18 volt operation. The 18-volt yields an incredible clean through out the range of the knob, while the 9-volt gets you a slight gain on the upper reaches of the knob.

Boosts always sound boring, but get one and try it out. You’ll be really surprised and the amount of cool things you can do with them: some pedals can be overdriven with a booster in front of them; some pedals don’t have volume controls, here’s your control; use more than one type of pickup with your same pedal setup; or get that really smokin’ hot tone out of your tube amp. Check back later for more blog entries, and check out our pedal demo videos on ProGuitarShop.com.

Jimi Hendrix Octavio Fuzz Octave

2008-03-26T15:53:00.001-07:00

The Jimi Hendrix Octavio pedal is an “octave up” fuzz pedal faithfully cloned from Jimi’s original, which is now housed in the Experience Music Project, Seattle’s rock and roll museum. Dunlop got the chance to examine, document, and copy the original. The Octavio is a spot on recreation with every feature: crazy “cheese wedge” shape, front-panel knobs, jack location, exact circuit, and hand-stenciled lettering. It doesn’t look like much, but if you have struggled to find that signature Hendrix tone this could be your missing link.

The Octavio has a great look. It is so different from any other pedal, in shape, you have to love it. The two chrome knobs are located at the front-panel above the jacks making it a set and forget kind of set up; sorry all you mid-solo tweakers. After the Octavio is turned on the Fuzz knob allows you to erase all the gain in its zero position, leaving a pure octave up tone. Or as you increase the Fuzz, the unit distorts nicely and at its upper levels really fuzzing out; nailing Jimi’s over saturated tone.

Jimi made this octave fuzz tone famous during his Band of Gypsys: Live at the Fillmore East performance. If you love Jimi, fuzzes, octaves, or crazy pedal shapes check out the Octavio demo on our website ProGuitarShop.com, and don’t forget to check back in for more reviews.

MXR Custom Shop '74 Vintage Phase 90

2008-03-26T14:43:00.001-07:00

Look out, old school coming through! Love EVH, phasers, or script logos? You'd better check out the '74 Vintage Phase 90 put out by MXR's brand spankin' new Custom Shop. Sporting the original soft orange paint, compact metal casing, scripted logo, and no AC input the '74 is dead on to the actual vintage. You’d be hard pressed to find the differences tonally or aesthetically.

The '74 features selected resistors and hand-matched FET's on a hand-wired board. It just oozes that vintage smooth phasing and rich modulation. The headroom and reduced midrange swell classic to the original is present, while the single Speed knob is truly interactive. MXR made the original and why wouldn’t they be able to re-create the original nearly flawlessly?

Pick one up today and you will not be able to stop finger tapping. Check out our demo video of the ’74 on our website ProGuitarShop.com, and take a look at our reviews.

Vox Cooltron: Over the Top Boost

2008-03-18T15:00:00.000-07:00

Ever plugged into a Vox Top Boost AC30 and wished you had a way to take it home? But cash flow, the fact that you have too many amps as it is now, or it's just physically impossible to get such a large piece of gear past your wife is standing in your way. Well the Vox Cooltron Over the Top Boost Pedal (OTTB) could be your savior.

The OTTB uses a single 12AU7 preamp tube to deliver a wide array of tones from the incredibly bright stabbing glassy trebles that screams classic Vox to an impressively smooth bottom end perfect for thickening up single coils. The tonal variation the Vox Over the Top Boost is capable of is staggering. Do not let the overt chrome finish or cheesy hot rod graphic put you off this gem. As soon as you see it on a darkened stage with its blue LED fired up you will wish all of your pedals had such a clean look.

In traditional Vox form, the OTTB sports chicken head knobs and a dip switch for standard or custom EQ settings with the custom mode dropping you into a classic hand wired AC30 EQ control. The Gain and Volume knobs allow you to use the pedal as either a boost or an overdrive, and the Cut control mirrors an AC30 control of the same name to the letter. The OTTB really is a Vox amp in pedal form.

Stop on by for more reviews, or visit our website ProGuitarShop.com for more information and demo videos.

G&L Guitars

2008-03-14T17:09:00.000-07:00

G&L Guitars is affectionately named after George Fullerton and Leo Fender (photo: left to right circa 1980), the founders of the Fender Musical Instrument Company. After decades of strife, bad luck, and weird twists with Fender, they reunited to form the G&L Guitar Company in 1980. G&L now resides in Fullerton, California at the original Fender factory. Leo died in 1991 after completing his final prototype earlier in the day. He said to his wife Phyllis that he had given all he could to the musicians of the world. The G&L Guitar Company is the fulfillment and continuation of this founder of modern music.

If you have ever picked up an American Series Fender or a Fender Custom Shop guitar with a hefty price tag and said, “This just does not feel right,” G&L is probably what you have missed. Most G&L guitars use the Stratocaster and Telecaster as a jumping-off point, keeping the best parts of those instruments and improving on what Leo felt were their weak spots; noisy pickups, lack of tonal options, primitive bridge designs, and antiquated neck construction techniques, among other things. Quality workmanship, great materials, a feel that is incredibly difficult to describe, and “that tone” is what G&L is all about. Pick up a G&L guitar and find out why people call them the real Fender. Be sure to check back for more reviews. And be sure to visit proguitarshop.com for more details or to pick out a custom order G&L ASAT, Comanche, or Legacy.

Xotic BB Plus Preamp

2008-03-06T15:09:00.000-08:00

Xotic Effects are known for their trio of boost pedals, the BB Preamp, AC and RC Booster. Now, they have a dual channel boost pedal for those who want a little more versatility and sonic creativity. The Xotic BB Plus contains a clean boost and an overdrive in one enclosure, which can be stacked in any order! Use one channel for dirty chords and one for an over the top overdrive, or use them both at once. Channel A contains the same sparkle and dynamics as the BB Pre ,but has an additional Hard/Soft switch for changing the overall cutoff frequencies. Channel B can not only be used as a clean boost but it's packed with a wicked amount of harmonic overtones, a 3 band EQ, along with a freq cutoff switch. This channel will certainly push a tube amplifier into some natural overdrive with every tonal option at your fingertips. The coolest part of the BB Plus is the option to switch the order of each pedal. If you've ever played around with the order in which you put your overdrive, clean boost or distortion pedal, you'll know that it can drastically change the shape of your tone. Running channel B into Channel A will add a dynamic volume boost while A into B will add to the amount of overdrive and saturation to the heavier circuit. Whichever combination you prefer, the Xotic BB+ has something for every guitarist.
For more info on Xotic pedals, visit Proguitarshop.com.

LovePedal Eternity

2008-03-04T16:12:00.000-08:00

LovePedal has been on our radar for quite some time. Both pros and armchair guitarist boast about these hand built effects. Today we will be looking at the Lovepedal Eternity, which offers 3 functions in one design. The Eternity can act as a Clean Boost, Treble Booster, or a smooth and compressed Overdrive. By the look of it, you can tell that Love Pedal doesn't waste time on painting or graphics, they spend this time creating some very unique pedals.

I plugged in a Les Paul into a 65Amps Soho for maximum crunch and low end. First, I tried using the clean boost setting which shouldn't color your tone. By rolling off the Glass and Drive, the Level is left to give your signal a clean and very transparent boost. I didn't notice a whole lot of output, like the 30dB of a Fulltone OCD, but enough to drive my tube amp naturally. Next I rolled up the Glass control, which produces some beautiful and sparkling clean high end. I was pleasantly surprised by the treble frequencies that LovePedal chose to boost. Finally, the Drive knob went up to about 25% and I was instantly skyrocketed into an overdriven frenzy! The Glass and Drive seem to be very interactive with eachother, as I was forced to roll back the Treble at higher distortion settings. With the Eternity's Drive at 75% or more, you can hold those notes forever with a harmonically rich tone that is both balanced and agressive. I would say that the Love Pedal Eternity smokes any Tubescreamer out there, and it easily competes with other boutique overdrive boxes.
For more info on LovePedal Effects, be sure to visit Proguitarshop.com!

LovePedal Church Of Tone

2008-03-04T14:46:00.001-08:00

LovePedal Effects have a great following of studio musicians and folks who are picking about their tone. These no frill pedals have a simple silk screen and rarely bother including an instruction manual. The reason is simple; any setting you choose should be usable without any secrets. Today we'll be looking at the Lovepedal COT 50 or Church of Tone. This stompbox was designed to be used in front of any amplifier, magically turning it into a Marshall Plexi. The secret to this Love Pedal is the single transistor, which can give you a tube like response with natural overdrive depending on where you set the Bias knob.

I plugged in the COT50 into my 65Amps Soho, to see if this American styled amp could suddenly turn British. With the Bias knob all the way down, the effect dramatically changed the structure of my tone. Stepping on the pedal is easier that ever, thanks to Love Pedal's True Bypass switching that incorporates a relay system for pop free operation. With added midrange and grind, I noticed that the amp sounded more dynamic than before and I could get an overdriven sound just by playing harder. Also, the Church Of Tone cleans up miraculously with the guitar's volume knob, that's why a lot of guitarists leave the pedal on the whole time. At higher Bias settings, you can get a creamy overdrive without the gritty high end. No matter what gain setting, the tone was always fat and tubey!

In general, you can't find another effect that will transform your rig into a Marshall like the Cot 50. Check out more Lovepedal Effects at Proguitarshop.com!

Z Vex LoFi Loop Junky

2008-02-15T13:25:00.000-08:00

In a world of squeaky clean digital samplers and looping pedals, Zach Vex has chosen to go against the grain and produce a very analog looper pedal, the ZVex Lo-Fi Loop Junky. This quirky pedal is capable of recording up to 20 seconds in true analog fashion (no A/D convertors here, folks). The charm of this pedal is that what you record into it, sounds completely different coming out! Think of how the early days of sampling and the common issues such as hiss, low frequency range and distortion. Well that’s what sounded so cool about it, and Zachary Vex is making sure that guitarist can have some of the action.

This little pedal is very simple in design. 5 knobs give you control of Volume and Tone for playback, Record level, and a very cool vibrato section with Speed and Depth controls for adding that warped characteristic to your loops! The playback signal has a brickwall frequency at 2.6kHz, which means you will never have a hard time distinguishing between your guitar signal and the looper. As a matter of fact, the preamp in the circuit maintains your dry signal’s clarity to the highest level with a specially designed circuit by Z Vex Effects. It’s this juxtaposition between hi-fidelity guitar and lo-fi looping that make the Loop Junky such a sweet little pedal.

There are no layering options here folks, just one simple loop. But you can tweak the loop with the tone control for mellow and hazy samples or crank up the tone to let all the garbage, noise and crackle shine through! To record a loop, just hit the Rec stompswitch while playing. Playing back the newly recorded loop is as easy as hitting the Start switch. For seamless looping, I tried to hit both the Rec and Start simultaneously after I finished playing, for immediate and gap free looping. I noticed plenty of output on the playback signal too, since it is extremely compressed. The Record level doesn’t need much strength to produce a clear playback but it’s more fun cranking it up for an overdriven and warbling sample! The vibrato feature on this pedal is by far the most expressive part of the Junky. Turn up the depth and roll the speed halfway for a classic 45 record left in a hot station wagon sound. Faster speeds can even produce Leslie tones, especially when you roll the tone back. You’d be surprised at the extra atmosphere the Z-Vex LoFi Loop Junky can bring to your rig. Best of all, the sample remains intact even with the battery disconnected. And to protect that extra special creation, there is a Safe switch that prohibits you from recording any new loops. So, for something that is definitely outside of the box and fun to use, check out this old school looper at Proguitarshop.com. Thanks for stopping by.

Electro Harmonix POG

2008-02-15T11:39:00.000-08:00

Whether you’re looking to kick out your keyboard player soon or just want to beef up your power trio, you should consider checking out the Electro Harmonix POG! This Polyphonic Octave Generator is capable of generating 3 different octaves from your guitar signal. Just imagine yourself kicking in the POG during a 12-string guitar break or dialing in a lower octave to beef up your tone. You can use this effect it in various ways and styles, the only limit is your imagination.

EH has always strived to create odd and interesting guitar effects for us musicians. When EHX created the P.O.G., they probably knew that no one had attempted such a design before but they kept the functionality very simple with just 8 slider switches! These sliders give an easy visual interpretation of what the pedal will sound like. The first control on the P O G is for the dry input signal, which also has its own output level. The first thing I noticed was how little I had to raise the input gain of the guitar. This means that the POG is capable of boosting a much lower output source such as a bass or certain keyboards.

The next slider controls the level of Sub Octave, which creates one octave lower than the source signal. Create bass lines that track flawlessly or add just a touch of octave to broaden chords. I found this lower octave sounded warm and natural, unlike cheaper octave pedals that bounce and jitter. Next, you have control for an octave up level and detune amount. The upper octave is a clean sound that is reminiscent of a Whammy. By blending just a touch of this signal with the clean sound, you can emulate a 12 string guitar and add extra harmonics and sparkle to your tone. The Detune amount is sort of misleading because you are actually introducing a slow modulation to the signal, like a chorus. You don’t have control of the detune pitch, just the mod amount. This is supposed to mimic the natural chorusing effect you hear on a 12 string or any double stringed instrument. I found that it was quite effective in making your guitar sound natural and unprocessed when the detune was about 40%. Anymore just sounded like playing through a chorus pedal.

The 2^nd octave up is just as clean and glitch free and the other signals. Playing up and down the neck, will give you flawless tracking without an overly processed tone. You also have a detune amount for this sound as well, giving you the ultimate tonal flexibility. Mixing in both upper octaves with the dry signal produces an 18 string guitar, and when you add some Sub-octave… lookout Jon Lord! The detune amount when increased, sounds more like a slow Leslie speaker with this organ setting. Now you can fool your listeners into believing you have a B3 player in your band! To further sculpt the tone of this pedal and make the settings sound more realistic, Electro-Harmonix has provided a low pass filter with 3 selectable ranges. The first range omits the dry signal in the filter, so if you wanted to roll off the high end of those upper octaves only, this would be your mode. The 2^nd setting includes the dry, so you can treat the whole signal through the filter. And the 3^rd mode is similar to the previous, only with a broader range. The filter is really the secret weapon to the POG. I found it especially useful when simulating a bass guitar with the sub octave signal only; rolling off the highs made it sound more like a muted bass guitar.

There’s no doubt about it, the EH POG can deliver some great synth, 12-string, and bass guitar tones. For more info on this versatile pedal, check out Proguitarshop.com! Thanks for stopping by.

T-Rex Replica Delay

2008-02-15T10:20:00.000-08:00

Looking for pristine a digital delay with the highest quality components in a stompbox form? Well, you might want to gaze at the TRex Replica delay. This effect produces a clean delay via 24 bit Burr Brown A/D converters for audiophile quality sound. It also features a high cut filter for the echo signal only, to replicate those warm analog repeats. Professional features such as Tap Tempo and a MIDI controllable delay time make this pedal a truly versatile design from T-Rex.

The controls are pretty simple with Echo, Level, Repeat and Tempo. I first tried the Replica without the “Brown” setting to hear the maximum frequency range. Both long and short delay settings sounded lush and true to the analog signal. The best advantage of a digital delay is the extremely long settings up to 1550ms with a sample rate up to 200kHz! With the hi-cut switched in, the volume remained constant but with an extra bit of warmth, perfect for a classic tape delay tone without the noise!

Like most digital delays, you cannot go into UFO oscillations, but the T-Rex Replica is meant to be heard loud and clear, avoiding distortion at all costs. Maybe it was the fact that T Rex painted the enclosure Brown, but I thought this pedal sounded warm and lush at any setting! It’s evident that the circuit in this pedal is made with top quality components for zero noise and a fat echo signal. This pedal also features True Bypass, so you don’t have to worry about signal loss when the pedal isn’t on. Even if the Replica didn’t have TB, I’m sure you wouldn’t notice a drop in signal because of the highly preserved audio passing through the circuit.

The last feature is the Subdivision, which boasts a triplet delay effect. This mode basically generates quarter note triplets which is a VERY subtle effect. Using the Tap Tempo, you can play along to the song's beat while hearing some extra repeats bouncing back in time. The Sub division is not like a dual delay but just adds some extra spatial excitation! So if you want nothing but the best in sound quality and construction in your delay pedal, check out the TRex Replica at Proguitarshop.com. Thanks for stopping by!

ZVex Jonny Octave

2008-02-14T13:47:00.000-08:00

Today we are continuing are spotlight on Z Vex effects; beautiful handmade pedals with a defiance for the conventional stompbox. The ZVex Jonny Octave is another design that has takes matters into its own hands. Much like the coveted Octavia from the 60’s, you can get strange sounding chords and divebomb effects during string bends, but you have the option of going a 2^nd octave up, for an even more eerie sound! As with most ZVex pedals, convention is not his middle name!

The two simple knobs control the output of each octave and you’ll notice that the signals are fairly clean, unlike Octavia type pedals that use fuzz in conjunction. So you have the option of using your favorite fuzz or keeping it clean for maximum clarity and sparkle. Along with the true bypass switch, you can switch between the 1^st and 2^nd octave up modes. I plugged in a Strat and played on the neck pickup because that seems to be the best way to fully expose these effects. The first octave sound was what I’d expected; Band of Gypsys here I come! However, the upper octave seemed to be more pronounced and focused. I didn’t have to massage the octave-up sounds out like other pedals. In the second octave mode, the effect was a little less in your face, but you could hear some strangeness coming out of your cones. I’ve never heard an analog pedal that could achieve this sound. Playing higher strings yielded a clearer 2^nd octave tone, but lower strings gave your guitar an odd ring modulator, synth tone.

A standard Z Vex tradition is to add more user controls on the inside of the circuit board. There are 4 mini pots, 2 for each mode, that allow you to dial in amount of gain to adapt to different playing techniques. This allows you to saturate or clean up the octave effect, although more gain means less octave is heard. The second control is a makeup gain control, perfect for balancing the adjusted signal. Extra options like these make ZVex the leader in versatile stompboxes. The Jonny Octave is a must for someone who wants both classic and whacked out octave sounds! For more info on ZVex pedals, check out Proguitarshop.com!

ZVex Box of Rock

2008-02-14T13:30:00.000-08:00

Today we’re going to look at the ZVex Box of Rock, which can mimic the sound of a dimed Marshall stack but at lower volumes. Zachary Vex designed this pedal from the ground up and came up with his aptly named "Distortron Engine", which can recreate arena rock tones at bedroom levels. This effect also incorporates a switchable Boost section, for adding a light buffer to your signal or combined with the distortion for maximum punch and overdrive!
This pedal has two footswitches, one for the Boost, and the “Distortron.” The first test was to play clean out of our 65 Soho shop amp and engage the clean boost. The corresponding yellow LED tells you when the mode is on, which is great for those more subtle settings. When the boost level is rolled all the way back, you’re at unity gain, so anything passed this point is 100% clean boost. Z Vex gives you the option of using the boost alone for lower output pickups or to add a touch more overdrive to your tube amplifier; this is something the Fulldrive 2 couldn’t do. The guitar tone was clean and unaffected up to about 75%, from there on you have yourself a great overdrive pedal without the ratty, harsh qualities of most overdrive pedals. Having these two separate channels really adds to the versatility of the Box of Rock.

The Distortion side has 3 controls for Volume, Tone, and Drive. One thing is for sure, ZVex gave this pedal plenty of output. I stuck around the 9 or 10 o’clock position while keeping the drive above 12 o’clock. The tone of the Box of Rock is surprisingly sweet and tube like. Comparing it to a non-master JTM era Marshall is spot on. In fact, Zachary Vex's own video demo shows him playing a cranked full stack, then with the Box of Rock on a cleaner amp setting, and they sound virtually the same! But the real fun happens when you engage both the Boost and the Distortion channels together. Since the Boost circuit is put after the Distortron, it only increases the level and leaves the character and shape of the distortion unchanged. This is great for getting that extra bit of sustain and punch during a screaming solo!
ZVex pedals are all handmade and hand painted. However the more affordable Vexter series, features the same circuit and components, only with a silk screened case. I wouldn’t mind having either version of the pedal myself. It’s rare to find a pedal that has a warm and pleasing overdrive on its own. For more info on these pedals, check out Proguitarshop.com! Thanks for stopping by.

Line 6 DL4 Delay Modeler

2008-02-14T11:34:00.000-08:00

Today we’re going to look at one of the most widely used delay pedals by guitarists, the Line 6 DL4. Whether you need this delay modeler effect for studio or heavy gigging, the DL4 delivers both versatility and ruggedness, and these are just a few reasons you will have a hard time not finding one on a musician’s pedalboard. So, let’s find out all the bells and whistles that make this multi function delay, a staple in the professional guitar world.

The rugged enclosure of this pedal tells you that it will take a licking on the road and keep ticking. 4 heavy duty stompswitches are included for 3 user programmable presets and tap tempo. I like the fact that even though this is a digital modeling pedal, it feels analog with its many tweakable knobs and the absence of an LED display. The Line6 DL4 offers 15 easily accessible factory presets for the most widely used delays in rock history. Dial in various tube or solid state echos, analog and digital delays, ping pong stereo and more obscure settings like reverse delay and a 14 second looping!

The first thing I had to try out was the Echoplex settings. The key to emulating a tape delay is the modulation that naturally occurs as the tape passes through, creating a slight chorusing effect. Thanks to the Tweak and Tweez controls, these multi functional knobs will help you dial in the tone, gain or amount of virtual tape flutter heard. The “Tube Echo” seemed to have a more convincing Tape sound when I mixed in some wow&flutter for that sweet analog sound. In the other modes, the tweak and tweez can control Bass and Treble, Modulation Speed and Depth, sweep speed & depth and more! Plus, you still have standard controls for Delay Time, Repeats and Mix.

Next, I tried out the “Sweep Echo” which is solely from Line 6 and takes the tone from a vintage EP-1 tape delay and adds a sweeping filter effect to the wet signal. Changing the tweak and tweez gives you control of the speed and depth of the sine wave, taking you to outer space and back. The real key to the success of the DL4 is the highly integrated use of an expression pedal. Use is to create swell effects, change the tone of the echo on the fly, or morph to any other setting within the same mode. Giving the expression pedal such an important role in this pedal places the DL4 at the top of the list. Another major advance in expressiveness is the selectable bypass modes. Choose between True Bypass for all you tone nuts or an alternate mode that enables the delay signal to trail off after you turn the pedal off. Nothing destroys the vibe of a song more than killing a delay midway!

I have owned just about every echo pedal that Line 6 modeled here, and they’ve definitely captured the essence of them all. The best part is that you can store 3 completely different delay types to recall on the fly in a live situation. Want a short tube echo slapback for solos and a long modulated echo for the chorus? Not a problem! And don’t forget the tap tempo switch for matching the repeat time to the speed of your tune. You’ll never have to hunch over to change the delay time again! There really isn’t anything that the guys at Line6 left out of this pedal and I would recommend it to anyone, whether you’re a beginner or a pro. For more information, check out Proguitarshop.com! Thanks for stopping by.

Electro Harmonix Big Muff Pi

2008-02-08T13:55:00.000-08:00

The legendary Big Muff has seen over 30 years of use and abuse. This high gain, thick distortion pedal continues to wow guitarists and even bass players too, with its signature meaty sound. So today, we will investigate what keeps musicians coming back to the Electro Harmonix Big Muff Pi.

The 3 knobs on this USA version are Volume, Tone, and Sustain. The Sustain controls the amount of gain, but was labeled this way because your notes will sing for days as you increase this knob. You will hear more clipping and saturation at the highest Sustain levels. Extra sag and spongy-ness add some natural compression and violin like tone. Backing off this control to 75% gives you more output and less compression, so you’ll want to really tweak with this. Without the extra sag, you’ll hear a grittier distortion and a Metal quality. If you want Sabbath tones are a more modern grind, 50-70% of sustain is where it’s at!

The Tone control is very versatile, and you can tell why many Bass players choose the Big Muff too. Backing off this knob brings in some more bass and midrange, while rolling off the highs. In the lower tone ranges, you can achieve some great classic rock tones ala ZZ Top. The EH Big Muff has plenty of output too, so don’t worry about volume drop when you engage the effect. Your amplifier can be overdriven nicely by cranking the output and using less Sustain. Electro Harmonix probably had no idea they were creating such a useful pedal at the time, but we salute them!

For more info on Eletro-Harmonix pedals, visit Proguitarshop.com! Thanks for stopping by.

Electro Harmonix Holiest Grail Reverb

2008-02-06T10:47:00.000-08:00

Since the 70’s, Electro-Harmonix has been creating highly usable effects pedals as well as some oddball designs. Today they continue to push further with creative and highly versatile stompboxes, like the EH Holiest Grail reverb. The Holiest is the 3^rd model in the “Holy Grail” line, and has the most control of the reverb parameters; including tone shaping and delay settings, as well as stereo outs and an expression pedal input for frightening swells. So let’s enter into the various cavernous spaces of this flagship reverb from EH.

Upon inspecting the pedal, you will notice the almost overwhelming control the user has of the reverb signal. All of the parameters are adjusted via an easy to use slider switch or controlled via MIDI with the provided IN and OUT jacks. But MIDI aside, I went old school and tweaked these by hand. The first adjustment you should look at is the dry Input Gain; it will help ensure that a clean, strong signal passes through to your amp. One thing I noticed was how much headroom this input had because at 30%, you could get a good clean audio, otherwise the red LED notified me of a distorted signal. This means you could pump just about any source through the Holiest Grail and not worry about signal loss.

The “Reverb” section contains 3 sliders for Decay length, Damping and Diffusion which dictate the size and tone of the reverb signal. I put the decay halfway up for a long room and depending on what Damping setting, the reverb could sparkle or have a vintage character. The Diffusion is more of a fine control for adding extra depth to the wet sound. With these three sliders alone, you have more control than any built-in amp 'verb out there. Next, the extensive Mixer section enables you to dial in the Dry signal, Spring sound, and Rev out. The Springy-ness when added, is very natural sounding and you could hear the extra bounce of a simulated spring during harder sections. If you want a clean and tight studio reverb, just back the Spring off and the sound instantly morphs into something that could be mistaken for a high end rackmount effect.

Lastly, we have presets and more presets! 4 banks with 2 presets each means 8 stored settings from the factory or created by yourself. Two presets can be recalled on the fly with the A and B stomp switches. Did I mention it had presets? There are a few factory settings worth mentioning too; Bank 4A turns this pedal into a delay pedal! You can tweak the feeback level and delay time to sculpt the echo as well. But my favorite preset has to be Bank 4 B, which EH calls a “resonator.” Just try to play one note without the unit feeding back on itself and decaying into oblivion! The Electro Harmonix Holiest Grail is definitely versatile and probably the only reverb on the floor with such extensive controls. Be sure to check it out at Proguitarshop.com. Thanks for stopping by!

ZVex Octane3

2008-02-05T16:15:00.000-08:00

Octave up pedals are known for producing some rather strange and eerie sounding guitar tones. That’s why it doesn’t surprise me that Zachary Vex has two different models of this vintage sounding effect; The ZVex Jonny Octave and the Octane 3. Today, we will test out the latter, which is the most updated version with some great improvements over versions 1 and 2. The best improvement is the addition of an LED light that also helps eliminate bleeding signals when the effect is bypassed. Also, version 3 eliminates unwanted radio interference, which used to be a big problem. So let’s check out the Z Vex Octane 3.

The controls are real simple: In, Out, and Tone, which is a versatile Midrange control. Adding a mid knob really helps dial the mix of the pedal. I rolled it all the way up, for a scooped sound. Playing power chords gives you a chunky and angry metal tone. When you play above the 12^th fret, the upper octave magically appears, while double stops produce some hair raising dive bomb effects!

Unlike other Octavia type pedals, the upper octaves are easy to hear at any level. I played some Band of Gypsys to verify that the Octane was creating that classic sound. Rolling back the Tone control actually increases the midrange, for a more classic rock tone. This was something your vintage pedal didn’t have control over, so this is a real plus. The amount of Gain is controlled by the IN knob, however it only backs off the gain slightly. You could think of it as merely a trimmer for adjusting to your pickups, while the overall gain is there to stay! But the amount of fuzz is not overwhelming and I found it rather smooth without any harsh or splatty overtones.

If you have been holding off on an upper octave pedal, then get yourself a truly handmade, analog, Octane3 from ZVex. For more info, check out Proguitarshop.com! Thanks for stopping by.

ZVex Machine

2008-02-05T15:20:00.001-08:00

It seems that these days, you have 20 different varieties of Tubescreamers and Fuzzfaces, but Z Vex is producing some great “outside of the box” guitar effects. Creator Zachary Vex tries his hardest to make sure he creates something nobody has even tried before; enter the ZVex Machine. Most dirt boxes create distortion in the peaks and valleys of the waveform, but for the first time ever, the Machine generates it during the slope of the cycle, creating crossover distortion, which is the key to this pedal’s madness. This is possible due to something called a dual frequency tripler circuit. To cut through the tech talk, this pedal creates some very nasty sounding distortion that you can use with other pedals to enhance your tone and bring some rather sterile sounding distortion to life.

First, I tried the Machine without any pedals to see how this crossover distortion sounds. At first, you may think your guitar is broken, but that’s a good thing. When playing chords, you can still hear your dry signal coming through the mix as well as some gritty and sputtering distortion. The simple In, Limit, and Out controls, allow for quick adjustment. Turning the Limit CCW will produce less dry signal and more fuzz because you are clipping the original waveform. The tone was hard to place, but reminded me of how an Octavia sounds when you try to play chords; Messy!

When you combine the Machine with another distortion or fuzz, you will hear what sounds like your old pedal but with something extra as the note trails off. That’s because now you can two different types of distortion being produced. You’ll notice that double stops have an extra frequency travelling up as you bend the note down! Also, this pedal has a higher dynamic range than most pedals, so it will cut through the most aggressive fuzz, like a ZVex Fuzz Factory. The key is experimenting with this and your other pedals; It makes them fun again!

The stompbox world has ZVex to thank for bringing something new to this 50 year old technology we call guitar pedals! Check out the ZVex Machine at Proguitarshop.com for more details. Check back soon for more reviews on gear. Thanks for stopping by!

Z Vex Fuzz Factory

2008-02-05T12:21:00.001-08:00

Today we will be taking a look at the Z Vex Fuzz Factory, their most popular fuzz pedal. This pedal contains two NOS Germanium transistors for a classic and creamy fuzztone. But this insane stompbox uses feedback and oscillation as a tonal character, which you can manipulate for some really unearthly tones! The 5 parameters on the pedal will control just how much Buzz, Noise, and Feedback you hear coming out of your amp, along with quality of the fuzz. So let’s see how this screaming pedal sounds!

I grabbed a Les Paul with vintage output humbuckers, and plugged into the wonderful 65 Soho amp in the shop. Right off the bat, I read what each knob would do. The Gate affects the noises you hear when you are not playing, such as hiss and squeals. Next, the Comp control changes the attack and tightens or pinches the tone, depending on the setting. The Drive Knob increases distortion and controls the pitch of oscillation when present. Lastly, the Stability controls the squishiness of the Fuzz and controls the pitch of oscillation too. Got all that? Anyway, I set up the fuzz for a classic Fuzz Face tone by rolling the Gate and Comp back while adjusting the Stab all the way up. This produced a classic Hendrix tone that cleaned up nicely when the guitar was rolled back. This pedal produced singing violin tones with plenty of sustain and thickness.

Now the fun stuff! By rolling the Drive back and rolling up the Gate, you can achieve some great octave up tones like a classic Octavia! Playing chords will sound synth-like and upper notes will have a ring modulator effect when playing bends and double stops. This setting is kind of hidden so remember to keep the Gate at around 3 o’clock! Next, you can start to hear the Fuzz Factory produce some odd harmonics and strange frequencies by rolling the Comp back to 10 o’clock and backing the Gate all the way. As soon as you decrease the Stab from fully CCW to halfway, you will unleash the squeals! Turning this knob back will tune the frequency of the oscillation too. The great thing about playing a guitar along with the oscillation,is that your guitar signal will “fight” the oscillation signal for some interesting and unstable sounds. Beware, the guitar will most likely lose that fight to heavy oscillations!

If you find yourself producing nothing but sirens and squeals, you can always increase the Comp and let your ears regain their composure, I’m speaking from experience here. This pedal is definitely one of those effects that you have to tinker with to find your favorite setting. But there are plenty of cool sounds to be discovered in the ZVex Fuzz Factory and because of this, It may be the last fuzz you’ll ever need. For more non conventional pedals, check out full line of ZVex pedals at Proguitarshop.com!

65 Amps London 18 Watt

2008-01-07T11:03:00.000-08:00

Have you ever dreamed of having two classic and distinct amps in one chassis? How about a vintage Vox with an EF86 preamp and a Marshall 18 Watt with tremelo? Well, you can open your eyes because the 65 London 18 Watt Combo is exactly that! This class A tube amp, contains two channels with their own preamp section, all driven by El84's and an EZ81 tube rectifier for that natural compression. I recently took the London Combo, loaded with a Celestion G12h30 speaker, for a test run, and I was blown away!

I plugged in a Les Paul for maximum overdrive, and tried out the Vox voiced channel. This channel has a Volume, Tone, a 6-way Color knob for extended Bass and Gain, and a footswitchable top boost! I couldn't believe how good this channel sounded. That classic Vox chime oozed out of the London, with the Color control helping to dial in the right amount of bottom end. Whether it be classic Beatles tunes or your favorite Peter Buck riff, the first channel will take you there. The volume of 18 watts cranked up is also perfect for small gigs as well as recording.
The second channel has a classic Marshall grind. It's a smooth and creamy overdrive, without the shrill top end of a Plexi. This amp also cleans up as you roll the guitar volume back. It' s rare to find an amp that sounds good without pedals, but you can easy go from sparkly clean with plenty of volume to a nice distortion You can crank up the Volume and Tone controls for maximum gain and roll the presence off with the global Cut control. This Cut control is located in the Power section, so you can round off the tone very nicely. The footswitchable tube Tremelo has your standard Intensity and Rate controls. The range of Trem speeds is highly usable and it's not hard to get classic pulsing tones. The Celestion G12H is my new favorite speaker for 1x12 combos due to its warm top end frequencies and tremendous low end, without the mud.
65 Amps prides themselves on using the highest quality components and handwired techniques, just like the amplifiers of the 60's. It's easy to see what the buzz is all about with Peter Stroud and 65Amps. For more info on the 65 London Combo or other models, check out Proguitarshop.com.
Be sure to check back for other reviews!

65 Amps Soho Combo

2007-12-31T11:29:00.001-08:00

If you're not familiar with 65 Amps, this review should help open your ears to a great company that was founded by real musicians. Peter Stroud of Sheryl Crow fame, as well as his longtime friend and amp builder, Dan Boul, have been tinkering with low wattage amps for a while. There modded designs have transformed into 65 Amps, a company that brings back those classic Vox and Marshall tones which started Rock N' Roll. Today we'll be looking at the 65 Soho Combo, which is a 20 Watt Class A, single Celestion loaded amp. This all tube amplifier can go from American to British tones in one switch due to it's versatile single channel and bump section. Let's go deeper into the world of 65 Amps.

Our Soho combo came equipped with a Celestion G12H30 speaker, which carries low frequencies extremely well and has a warm top end. The controls on the chassis are as followed: Volume, Bass, Treble and a footswitchable Boost section with its own Tone and 6 way selectable Gain Boost. If that isn't enough options, you also can switch the Master volume in or out of the circuit! My Tele was begging for a chance at this amp, so I plugged into the channel with the Bump and Master disable for a clean and natural overdrive. My first feeling about the Soho was that it had plenty of volume for a 20 Watt combo, and the headroom was clear and sparkling. This setting is supposed to be more of an American sound, and it definitely had that clean Fender tone down. With the Bump section enabled, you can get some really diverse tones. The 6 way control adds more bass and gain with every notch, so you might want to tweak the Bump Tone to compensate for this dark sound, or roll it back for a great Lead woman tone. At this setting, the Soho had some classic British breakup for sure! It sounded like a combination between all your favorite low wattage Vox amps with an 18 watt Marshall thrown in for good measure. All these tones were still able to sound good with the Master volume engaged, due to a 65 Amps designed tone stack that slopes as you turn it down. You can easily get some vintage tones at bedroom levels. I was very impressed with the Master because so many amps claim to sound good at attenuated volumes, but never live up to it.

The Soho is made for studio use, small gigs and living room playing. My Tele instantly fell in love with this amp. From Alt Country to Heavy Rock, the Soho was keeping up with any style due to its beautiful tone section. If you are looking for a handmade amp that sounds as good as it looks, check out 65 Amps and Proguitarshop.com!

Be sure to check back again for more reviews.

Fulltone OCD

2007-12-27T14:27:00.000-08:00

The Fulltone OCD is known for having a very tube like response and shimmering harmonic overtones. Much like the way your JTM 45 or Vox AC15 puts out those "ghost notes" that you swear someone else in the room was playing, the OCD can do all this at any volume! Well, I had to give this pedal a try, so I paired it up with a Les Paul and a 6v6 powered Marshall Studio 15. The settings are pretty basic; Volume, Tone, and Drive, except for the HP and LP toggle switch. These two gain modes can take you from classic scooped mids to a more modern British gain. After you figure out that they stand for High Peak and Low Peak, not High/Low pass, its a lot easier to find your favorite settings.
First, this pedal has quite a bit of overdrive! I started playing with the Gain at minimum, and cranked the Volume to get more of a clean boost. There was plenty of boost, over 20dB in fact! The tone control of my OCD Version 3 was a little dark until 12 o'clock, but had plenty of upper frequencies to spare. The tone sweep was also a nice usable range. Some OD pedals lose low end when you crank the tone control and this wasn't the case with the Obsessive Compulsive Drive. With the Gain up halfway, you could definitely hear what Fulltone was talking about before. The harmonics come alive, and you're giving a full and creamy tone. On the High peak mode, the gain increases and low end is added! The more I played around with this pedal, the more subtle tone difference I found. Also, this pedal cleans up more than any Overdrive I've heard, on both modes too. With maximum gain, the OCD sounded thick but without the ratty qualities of some, and I could get some serious sustain and lower volumes. This pedal with make you obsess about your tone after playing it because it opens up a new world of tones. As an owner of one, I can say that my homemade JTM45 doesn't fire up without one in front of it.
Thanks for checking out the latest post. Be sure to check back soon for more reviews. For more info as well as a Video Demo of the Fulltone OCD, visit Proguitarshop.com!

Marshall 2061x 20 Watt Head

2007-12-19T11:04:00.000-08:00

The Marshall 2061x is a reissue of the 20 Watt Lead & Bass head. This all tube head is part of Marshall’s Handwired Series. Compared to the other 18 watt hand wired combo, this amp has a solid state rectifier for more headroom and cleaner top end. With such a simple layout, only volume and tone, you can’t go wrong with these amps. I recently demoed the 20 watt head with it’s 2061cx counterpart, a 2x12 load with Celestion G12H 30 watt speakers.

The first thing I noticed while plugging in the amp was its many faces due to an extremely wide tone control. I could conjure up warm jazz tone with it rolled all the way back or jump into classic Marshall grit with the tone cranked. Even at lower volume settings, the tone passed 3 o’clock will raise the gain tremendously, which is nice for studio use. The Les Paul paired up nicely with the 2061. I could tell that it was a solid state rectifier because of the sparkling clean tones and tighter bass. The second channel, or “Bass” is perfect for meatier tones with less gain. I could dial in some Wes tones easier with the tone at any setting really. The volume up until 1 o’clock is pretty clean, depending on your guitar of course. With both knobs cranked, you could achieve some Sabbath like tones, due to the increased low end response. The Marshall 2061cx had a lot to do with the tight bass as well. The G12H is a superb speaker for low wattage amps that need a little extra volume and projection. Celestion pre ages their speakers for extra warmth and vintage tones.

Having tested both Marshall Handwired amplifiers, I can say that my faith has been restored. These vintage designs can’t be beat in my opinion. Best of all, Marshall really went the extra mile by hand wiring they babies and using original spec components and transformers I really can’t decide which one I like better because they’re both versatile amps. But one thing is for sure, the 20 watt Lead & Bass head wins for the lightweight and portable department! For more info on the 2061x , check out Proguitarshop.com. Be sure to check back for more gear reviews!

T-Rex Roommate Reverb

2007-12-06T13:03:00.000-08:00

The T-Rex Roommate is the finest tube-driven digital reverb on the market. Inside this sharp lilac colored stompbox is a real 12ax7 vacuum tube, which produces warm and shimmering wet signals. T Rex is known for creating some fine pedals, let’s hear what kind of spaces the Room Mate can create.

The first thing you will notice after powering the pedal up is a nicely glowing tube in the window. The controls are pretty simple, with typical parameters like Mix, Input, a High Cut, and 4 selectable modes. These presets range from Classic Plate, Warm Hall, Bright Hall, and a Chorus with Warm Hall.

As I plugged in my Strat, I opted for the Classic Plate setting. It wasn’t hard to get a nice lengthy reverb which could cut through any mix. The high cut is subtle but did a nice job of tweaking the treble frequencies, which can make a reverb sound unnatural. As I increased the input, the tube added an extra bit of girth and warmth to the signal. Unlike a lot of digital reverb pedals, the signal didn’t sound distorted and clipped when maxed out. This pedal is definitely reminiscent of the 60’s Fender tube reverb. Although this isn’t a spring reverb simulator, the T-Rex Room-Mate goes after the vintage plate sounds that the spring reverbs were trying to copy in the first place!

The Bright and Warm Hall settings were similar but are necessary for brightening up a Les Paul or warming up a single coil pickup. Preset 4 was the only one that stood out to me, because it contains a lush Chorus effect with a Warm Hall. This is nice for those who don’t use a chorus effect much but want to add an extra dimension to their tone. I’ve always found modulated reverb to sound 80’s and thin, but the chorusing is just enough to add some shimmer and sparkle. Overall, I would say that the Room Mate is very convincing as an analog reverb. I would’ve liked some controls for the decay, but classic plate reverbs didn’t have much control either. Be sure to check back for more reviews and visit Proguitarshop.com for video clips and details!