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FORTHCOMING
Tascam US-1x2HR High-Resolution USB Audio Interface
Cat: 798791 Rel: 28 Feb 21
 
High-resolution USB audio interface
Notes: High-Resolution USB Audio Interface (2 in / 1 mic, 2 out)

The US-1x2HR is the smallest member of the Tascam US-HR series of high-resolution USB audio interfaces. It has one mic and one instrument input and is therefore particularly suitable for simple and intuitive guitar/vocal recording with a computer. The included loopback function and support for Open Broadcaster Software (OBS Studio), however, makes it also an excellent choice for podcast creation and live streaming. Last but not least, it is a perfect solution for feeding an amplifier system with music from a computer in high quality, for example for a birthday party.

The compact US-1x2HR incorporates a wealth of features, including high audio resolution up to 24-bit/192 kHz, ultra-low latency with a Windows buffer size starting at four samples, Ultra-HDDA mic preamplifiers with 48-volt phantom power for superior sound quality with ultra-low noise, a robust USB Type C connector, and a rich assortment of included software to start producing audio right away. The lightweight interface is ideal for mobile recording and production using an iPhone or iPad* with the included Cubasis LE so you can take it to your practice room, use it to report from a live event, or capture nature sounds outdoors.

All US-HR models offer a unique dye-cast aluminum honeycomb structure on the side panels with a slight upward tilt. This design not only results in a sleek, eye-catching design, it also provides just the right amount of weight so the interface won't move when cables are connected or disconnected. Equally important, the upward tilt offers the ergonomic benefit of being angled in such a way as to make the interface easy to work with.

If you need an uncluttered, easy-to-use audio interface with two inputs and two outputs, very low noise, low distortion and superb sound quality, the Tascam US-1x2HR can be your reliable partner for many years.

A recording environment with low noise and great audio performance is a relevant factor for vocal and, in particular, wind instruments. The US-1x2HR features an Ultra-HDDA microphone preamplifier with a very low noise level that makes this interface the ideal tool for recording with a condenser microphone. You can also plug in your electric guitar or bass directly using the line/instrument input and use plug-in effects on your computer recording (DAW) software. Or connect any instrument or hi-fi amplifier's line output to the line input.

The US-1x2HR is also a great tool on the road: Combine it with an iPad and you can capture nature sounds, stream interviews from live events, or simply record your ideas with high quality wherever you go.

Even if you're not so familiar with recording equipment, the US-1x2HR's user-friendly design enables you to use it right away.

The US-1x2HR can improve your sound when playing music from your computer. No matter if you create your own dance music using software synths and other plug-ins or if you are the DJ on a birthday party - with its high audio quality and separate controls for headphones and line outputs (loudspeakers) the US-1x2HR easily turns your computer into a perfect-sounding playback device.

You may have noticed that your sound system is not very loud when powered directly from a computer. When using the US-1x2HR to feed your power amplifiers, its high line output level ensures you get the maximum power out of your sound system.

Instead of a computer, you can also use an iPad or iPhone together with the US-1x2HR to make music. Performance has been tested with not only the bundled digital audio workstation (Cubasis LE3), but also with other popular recording software - you can continue to use them even if you change DAW software.

The Settings Panel, which is installed on your computer, comes with a variety of functions. You can choose whether direct monitoring is done in mono or stereo and adjust the balance between input and computer signals. You can also switch the hardware inputs on and off individually and set the Windows buffer size according to your working environment.

For online broadcasting, Internet communication and other live streaming applications, the US-HR series interfaces offer a Loopback function which can merge input signals 1/2 with signals 1/2 coming from the computer (each can be set to mono or stereo) and send that mix to the broadcasting or other software on the computer. A software slider allows to adjust the final "broadcast" volume independently from the unit's line output level setting.

Maximum input level (Mic/Line/Inst): +10 dBu / +20 dBu / +3 dBV
Maximum input gain (XLR/TRS): 58 dB / 45 dB
Maximum output level: +6 dBV
Mic preamp equivalent input noise: 128 dBu
S/N ratio: 109 dB / 110 dB
Distortion (THD+N, mic to computer): 0.0013%
Crosstalk: 95 dB
Power supply: USB / DC 5 V, 700 mA
Power consumption: 1.8 W
Overall dimensions (W x H x D): 146 mm x 55 mm x 120 mm
Weight: 623 g
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MRP:$151.25 SAVE 17%
coming soon $126.05
FORTHCOMING
Tascam US-2x2HR High-Resolution USB Audio & MIDI Interface
Cat: 798798 Rel: 28 Feb 21
 
High-resolution USB audio & MIDI interface
Notes: High-Resolution USB Audio/MIDI Interface (2 in, 2 out)

The US-2x2HR is a member of the Tascam US-HR series of high-resolution USB audio interfaces. It provides two mic/line/instrument switchable inputs and two balanced line outputs as well as MIDI I/O to your Windows or Mac computer or your iPhone or iPad. This interface is ideal for music creation and home recording with high demands on simple operation and studio-quality sound. The included loopback function and support for Open Broadcaster Software (OBS Studio), however, makes it also an excellent choice for podcast creation and live streaming.

The compact US-2x2HR incorporates a wealth of features, including high audio resolution up to 24-bit/192 kHz, ultra-low latency with a Windows buffer size starting at four samples, Ultra-HDDA mic preamplifiers with 48-volt phantom power for superior sound quality with ultra-low noise, a robust USB Type C connector, and a rich assortment of included software to start producing audio right away. This interface can also be used for mobile production or live streaming using your iPhone or iPad with the included Cubasis LE. Simply put, the US-2x2HR helps you create and distribute great-sounding audio wherever you go.

All US-HR models offer a unique dye-cast aluminum honeycomb structure on the side panels with a slight upward tilt. This design not only results in a sleek, eye-catching design, it also provides just the right amount of weight so the interface won't move when cables are connected or disconnected. Equally important, the upward tilt offers the ergonomic benefit of being angled in such a way as to make the interface easy to work with.

If you're a musician, producer or home-recordist who needs a solid, uncluttered, easy-to-use audio interface with superb sound quality, the Tascam US-2x2HR can be your reliable partner for many years.

The Ultra-HDDA (High-Definition Discrete Architecture) mic preamps used on the US-HR series feature a discrete construction. They have a higher number of components and are far away from mass-produced preamps. Their EIN (equivalent input noise) rating, which measures the absence of noise, is truly low for the US-2x2HR and US-4x4HR. Combined with a newly improved audio circuit and support for sampling rates up to 192 kHz, our in-house developed microphone preamplifier delivers enhanced audio performance with the most transparent and low-noise sound, reflected in a signal-to-noise ratio of 110 dB.

One issue when recording using a computer is latency, which is when audio signals are delayed through digital circuitry. Another is setting up the driver software that is used when connecting an audio interface to a computer. In order to eliminate these problems, our driver software introduces only very little latency and is easy to install. Furthermore, by making the external structure of these interfaces as simple as possible, the Tascam US-2x2HR and US-4x4HR allow users who are not expert users of audio equipment to operate them without concern.

The Settings Panel, which is installed on your computer, comes with a variety of functions. You can choose whether direct monitoring is done in mono or stereo and adjust the balance between input and computer signals. You can also switch the hardware inputs on and off individually and set the Windows buffer size according to your working environment.

For online broadcasting, Internet communication and other live streaming applications, the US-HR series interfaces offer a Loopback function which can merge input signals 1/2 with signals 1/2 coming from the computer (each can be set to mono or stereo) and send that mix to the broadcasting or other software on the computer. A software slider allows to adjust the final "broadcast" volume independently from the unit's line output level setting.

Instead of a computer, you can also use an iPad or iPhone together with the US-2x2HR/US-4x4HR to make music. Performance has been tested with not only the bundled digital audio workstation (Cubasis LE3), but also with other popular recording software - you can continue to use them even if you change DAW software. Since these units include MIDI inputs and outputs, you can connect MIDI keyboards, drum computers etc. to play sounds on the iPad or computer and thus expand your personal orchestra.

Maximum input level (Mic/Line/Inst): +10 dBu / +20 dBu / +10 dBV
Maximum input gain: 56 dB
Maximum output level: +20 dBu
Mic preamp equivalent input noise: 128 dBu
S/N ratio: 108 dB / 110 dB
Distortion (THD+N, mic to computer): 0,0013 %
Crosstalk: 95 dB
Power supply: USB / DC 5 V, 700 mA
Power consumption: 1.75 W
Overall dimensions (W x H x D): 186 mm x 65 mm x 160 mm
Weight: 1.1 kg
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MRP:$192.74 SAVE 17%
coming soon $160.62
FORTHCOMING
Mackie Element Series EM-USB USB Condenser Microphone
Cat: 794588 Rel: 31 Jan 21
 
USB condenser microphone with adjustable gain
Notes: Compact with excellent studio-quality sound, the EM-USB steps up the control with adjustable gain and mute plus a headphone output. This is the mic for those who want their mic to be the hub of their audio setup and the ability to fine tune their sound.

Suitable for remote work/learning, home studio use, podcasting and live streaming.
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coming soon TBA
FORTHCOMING
Mackie DB-100 Desktop Microphone Boom Arm
Mackie DB-100 Desktop Microphone Boom Arm (desktop microphone boom arm)
Cat: 785327
 
Desktop microhphone boom arm for Mackie Element microphones
Notes: Complete your content creation battlestation with this snazzy desktop boom arm. Simply clamp it to your desk, attach the mic, run your cable with the included straps and boom, you're good to go. Easy to adjust and Built-Like-a-Tank, this is a must have accessory for your EleMent mic.

It's the perfect companion for (almost) all EleMent microphones!

Compatible with: EM-91CU, EM-USB, Carbon

Please note: The microphone is not included in this purchase, it si shown for demonsatration purposes only.
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coming soon $76.95
FORTHCOMING
Mackie PF-100 Pop Screen For Element Series Microphones
Cat: 785650
 
Pop screen for Mackie Element microphones
Notes: Perfectly placed pop screens permeate pleasant, popular, positive payoff. Got a bunch of spit on your screen yet?

The PF-100 is a no-brainer for recording or streaming dialogue, singing, and any other vocal activities. Just slide it over your mic and instantly reduce those nasty pops that sentences like the one above make happen. This keeps your audio much more even and consistent as well as protects your mic from all that saliva.

Use it with ANY EleMent series mic!

EM-91CU
EM-USB
Carbon
Chromium
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coming soon $15.90
FORTHCOMING
Mackie Element Series Chromium Premium USB Condenser Microphone
Cat: 785653
 
USB condenser with built-in 2-channel mixer
Notes: This mic is a true beast for your home studio with tons of I/O and control for an array of different uses. Offering pristine sound with 4 selectable polar patterns and out legendary Onyx Preamp circuitry. On top of that, you get a 1/4" instrument input that you can mix with the mic. Want to play along with a track? Connect anything with a headphone output to the 1/8" Aux in and hear it in your headphones.

Suitable for home studio use, podcasting and content creation.
Read more
coming soon $205.23
FORTHCOMING
Mackie Element Series Carbon Premium USB Condenser Microphone
Cat: 785655
 
USB condenser microphone with 5 polar patterns
Notes: When you want maximum flexibility, Carbon delivers. In addition to the same connectivity and EM-USB, Carbon offers 5 selectable polar patterns, all sweetened by the legendary Onyx Preamp circuitry. Use it with its sleek included stand or mount it on a boom via its standard screw mount.

Suitable for content creation, live streaming and mobile recording.
Read more
coming soon $155.04
FORTHCOMING
Nektar Impact GXP49 USB MIDI Controller Keyboard
Nektar Impact GXP49 USB MIDI Controller Keyboard (USB MIDI controller keyboard)
Cat: 784009
 
USB MIDI controller keyboard
Notes: The Nektar Impact GXP49 USB MIDI controller keyboard is designed for players: Experience 49 semi-weighted keys and instant access to performance controls including a real-time repeat engine, powerful Nektarine plugin patch management and Nektar DAW Integration. GXP gives you the keys to a great performance!

GXP Keys
PLAY - Treat your fingers to a dynamic semi-weighted keyboard with velocity and aftertouch that captures all aspects of your performances.

GXP Repeat Section
REPEAT - The Repeat Engine lets you create inspiring rhythmic elements with direct and intuitive realtime access from dedicated Repeat controls.

Impact GXP Transport
DAW CONTROL - Control essential DAW functions directly from Impact GXP using the dedicated transport controls. Supports 12 DAWs.

GXP Software Bundle
PRODUCE - All you need to create is included: Licenses for Steinberg's acclaimed Cubase LE Music Production Software and Retrologue virtual synthesizer.

KEYS: JUST THE RIGHT TOUCH
At the core of GXP49 is a newly designed and carefully balanced keyboard action. Its 49 semi-weighted full-size keys with velocity and aftertouch deliver a nice, firm touch and great playability.

Impact GXP 49 Front left view
Choose from 5 different velocity curves to tailor Impact GXP's keyboard sensitivity to your personal needs. The curves cover a wide dynamic range from soft to hard touch. The default curve "normal" is optimized to deliver good control across the whole velocity range right out of the box. In addition, 3 fixed levels let you send fixed velocity values across the whole keyboard if needed.

Nektar Impact GXP49 Control

DIRECT ACCESS: THE CONTROLS YOU NEED
The streamlined no-fuss control panel is based on the successful Nektar Impact GX-series, enabling advanced DAW integration with extended transport control, track selection and volume control as well as options to open/close DAW windows and navigate songs. In addition, GXP88's user interface also has 14 assignable illuminated RGB buttons for direct MIDI program- and bank-selection.

Impact GXP is a MIDI controller as well as a DAW controller:
If you use MIDI software that's not supported by Nektar DAW Integration, you can also set up MIDI control yourself. The assignable buttons in the transport section can be configured to send out Program message or MMC (MIDI Machine Control) transport control. In addition, any of the 28 assignable MIDI buttons, the modulation wheel, keyboard aftertouch, foot switches and of course the big control knob, can be assigned to send out MIDI cc messages. The settings are stored over power cycling.

GREAT CONNECTIVITY:
MIDI, PEDALS, POWER
The GXP49 gives keyboard players all the right expression options needed for live and studio work. It offers large pitch bend & modulation wheels and connections for up to 3 optional external pedals: Connect any standard expression pedal to the first, and any standard footswitch to the second socket. And if you use an optional Y-cable adapter, the footswitch socket even supports two independent switches.

Impact GXP Pedal Connections
Impact GXP Back Panel
Impact GXP can also be used stand-alone with external MIDI gear: The rear panel includes a 5-pin MIDI out jack and an external power supply socket for powering the unit when not connected via USB.

GXP Repeat Section 2

REPEAT: GET INSPIRED
The Repeat Engine is great for creating inspiring rhythmic elements: Simply press the dedicated Repeat button, play and get inspired.

The RGB buttons now give you direct one-button access to Repeat Rates, Accent, Interval, Swing and routing aftertouch or modulation to velocity. The large Data/Tempo Encoder turns into a dedicated tempo control, unless synchronization is set to external MIDI clock.

Choose from 5 different key trigger modes to change the repeat behaviour from interesting arpeggio-style effects with human feel to hard-quantized repetitive rhythms. Repeat is a fun way to experiment and create those famous "happy accidents", that make you come up with unexpected new ideas.

GXP Repeat Engine

NEKTAR DAW INTEGRATION: GIVE YOUR MOUSE A BREAK!
Install Nektar DAW Integration and the 8 buttons right above the wheels let you take control of essential tasks in your DAW right from Impact GXP. Features cover extended transport control including goto and set locators, track navigation, volume control, launching windows and patch navigation - without ever reaching for the mouse.
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MRP:$227.55 SAVE 17%
coming soon $189.61
FORTHCOMING
Zoom AM7 Stereo Microphone For Android Devices
Cat: 803051 Rel: 28 Feb 21
 
Stereo microphone for Android devices
Notes: The Am7 is the perfect audio companion for your Android device. Ideal for music videos, video podcasts, vlogging and more, the Am7 makes your videos sound as good as they look.

Choose either a 90- standard stereo, 120- for a wider sonic image, or Mid-Side for a custom stereo image.

The Am7 mic position can be rotated to align with your camera to capture audio while recording video. When recording only audio, rotate the mic to the audio position, and point your phone like a mic to the sound you want to record.

The Am7 can also shoot in selfie mode*, allowing you to be in the center of the action.

Adjust your input level, with a large front-facing MIC gain knob and LED level meters. Use the headphone jack for monitoring your audio before, during, and after recording.

Available on Google Play, the Zoom Handy Recorder App allows you to record, edit, and share audio from your Android. Upload your creations directly to Soundcloud* or Google Drive.

Package Includes:

Am7 Stereo Microphone
Foam Windscreen
Operation Manual

SPECS:

TYPE: Mid-side (M-S) stereo mic (90-/120-/M-S)
MAXIMUM INPUT SOUND PRESSURE: 120 dBspl
INPUT GAIN: +3 - +43 dB
AUDIO QUALITY: 44.1 kHz/16 bit, 48 kHz/16 bit
POWER: Powered by the connected device
CONNECTOR: USB Type-C connector
Stereo mini jack (combined headphone/line level output)
DIMENSIONS: 54.5 (W) x 57.2 (D) x 26.5 (H) mm
WEIGHT: 31.8 g
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MRP:$119.13 SAVE 17%
coming soon $99.28
FORTHCOMING
Meng Qi Char Multiple Adapter
Meng Qi Char Multiple Adapter (multiple adapter)
Cat: 799790 Rel: 28 Feb 21
 
Passive three-way multiple adapter
Notes: Meng Qi's Char is a unique passive signal multiple, allowing three-way stereo signal multing.

It features a keychain attachment for easy carrying.

Read more
MRP:$12.05 SAVE 17%
coming soon $10.03
FORTHCOMING
Frequency Central Arley Dynamics ADSR & VCA Module
Cat: 803240 Rel: 28 Feb 21
MRP:$208.81 SAVE 23%
coming soon $161.73
FORTHCOMING
Frequency Central Little Melody MU Sequencer Module
Cat: 803035 Rel: 28 Feb 21
 
Generative sequencer module
Notes: Generative sequencer based around a clock divider and a chromatic quantiser. Creates in-the-moment licks and riffs.

Little Melody is a generative sequencer based around clock divisions and a chromatic quantiser, used to create in-the-moment licks and riffs. It is more that the sum of its parts.

Little Melody's internal operations can be considered as 4 clock dividers patched into a CV mixer via attenuators. The attenuators select notes over a 5 octave range, the clock dividers determine how often those notes are added to the mix. The final output of Little Melody is quantized chromatically for fast set up and continuously pleasing results.

The 4 clock dividers are labelled A, B, C, and D. They all receive clocks from the same source, the divisions may be selected using the presets and the individual division selectors. The clock dividers can be set to count up, down, or to one of a variety of modes that move between counting up and down.

Depth: 35mm

Width: 12HP

12V draw: 20mA

5V draw: 0mA

-12V draw: 16mA
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MRP:$441.71 SAVE 24%
coming soon $334.61
FORTHCOMING
Keeley Vibe-O-Verb	Ambient Reverberation Machine Pedal
Cat: 782480
 
Three mode reverb pedal
Notes: This three mode reverb lets you hear what some of the most classic effects sound like on just the reverb. Allowing you to create new sounds and textures like never before.

Fibonacci
All of the Delay Space in the reverb engine for the pedal are in the Fibonacci series. What does this mean for you? You'll probably make more money, look better (see golden ratio below) and find true happiness. But what this means for Keeley is a secret pleasure in defining a reverb that is unique and possibly more musical. Since great works of art like Debussy's La Mer have been crafted by using the Golden Ratio, why not create lengths of time defined by such ratios? 0, 1, 1, 2, 3, 5, 8, 13, 21, 34...

Harmonic Reverb
This mode is like a vintage Brownface Amp or our DynaTrem, Harmonic Tremolo on the reverb. Imagine choppy waves of tremolo on your verb! All with the a delicious hint of Vibe! Dynamic Dimension Canyons?!

Vibrato Reverb
Pitch Bending Reverberation Machine. From mild chorus to spacey bayou tones! Too grande to call our modulated chorus, this is one for modern psychedelics. For this one you have to imagine maybe both the source and the reflective wall moving! Maybe even accelerating with respect to each other.

Phaser
Phaser Modulated Reverb. Maybe the most mild but in a way that lets you appreciate some of the space around notes. This notch filter in your reverb space gives the illusion of the reflecting wall morphing from carpet to wood, then to steel and then glass. Round and round. Get the idea? Dynamic reflections in an all new space.
Enjoy these "Lost Reverbs" Vibe-O-Verb, reverbs that never were- until now.
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MRP:$199.44 SAVE 17%
coming soon $166.20
FORTHCOMING
Critter & Guitari Stereo Mini Cable (68cm)
Cat: 792193 Rel: 31 Dec 20
 
Male-to-male TRS cable
Notes: Male-to-Male TRS cable with 3.5mm (1/8") plugs.

This cable is great for TRS-MIDI connections. Use it to connect the Organelle M's MIDI In or Out ports to the opposite port on another Organelle M or another device with TRS-MIDI Type A connections.

Overall length: 26.75" (68cm)
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coming soon $3.68
FORTHCOMING
Rebel Technology Programmable Audio Processor Module
Rebel Technology Programmable Audio Processor Module (effect/sequencer/synth voice/utility synth module)
Cat: 800041 Rel: 28 Feb 21
MRP:$562.17 SAVE 17%
coming soon $468.46
FORTHCOMING
Rebel Technology Alchemist Programmable Synthesiser & Effects Unit
Cat: 800033 Rel: 28 Feb 21
 
Synthesiser & effects unit
Notes: The Alchemist is a powerful, programmable effects unit and synthesizer that fits in the palm of your hand. It is capable of running all the OWL Patches available in Rebel Technology's library, and you can write your own patches for it. Supported languages include Cycling'74 Max Gen, Pure data, FAUST and C++.
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MRP:$199.44 SAVE 17%
coming soon $165.08
FORTHCOMING
Empress Effects Compressor MKII Effects Pedal (silver)
Cat: 799001 Rel: 28 Feb 21
 
Compressor effect pedal
Notes: When the original Compressor was released back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Now, based on users' valuable feedback, everything great about the original Compressor has been taken and made even better.

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

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

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 20Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"
Length 4.8"
Width 2.6"
Weight 1lbs
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MRP:$368.09 SAVE 17%
coming soon $306.73
FORTHCOMING
Empress Effects Bass Compressor Effects Pedal (blue)
Cat: 799004 Rel: 28 Feb 21
 
Bass compressor effects pedal
Notes: When Empress released the original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Although our original Compressor sounded great on bass (and still does!) we set out to do even better.

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

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 10Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"
Length 3.5"
Width 2.6"
Weight 1lbs
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MRP:$368.09 SAVE 17%
coming soon $306.73
FORTHCOMING
Empress Effects Bass Compressor Effects Pedal (silver)
Cat: 799007 Rel: 28 Feb 21
 
Bass compressor effects pedal
Notes: When Empress released the original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Although our original Compressor sounded great on bass (and still does!) we set out to do even better.

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

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


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MRP:$368.09 SAVE 17%
coming soon $306.73
FORTHCOMING
Empress Effects Germ Drive Overdrive Pedal
Cat: 783038
 
Overdrive pedal
Notes: True to the tweed tube amps of the 50's, the germ drive delivers warm, harmonically rich overdrive that cleans up with a twist of your volume knob. Its tube-like break-up sounds extremely natural and will enhance your sound without masking the original tone of your instrument.

This true bypass overdrive offers gain control, two bands of EQ and output control to fully tweak your sound.
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MRP:$214.16 SAVE 17%
coming soon $178.46
FORTHCOMING
Zlob Modular Glow In The Dark Right Angle Patch Cables (15cm, pack of 5)
Cat: 793643 Rel: 31 Dec 20
 
Pack of 5 right-angled patch cables
Notes: Right angle cable length is not including the connectors (plugs).

6"= 15 cm

Glow in the dark cables have to be exposed to around 10 minutes of natural light before they will glow properly.
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MRP:$13.39 SAVE 17%
coming soon $11.15
FORTHCOMING
Zlob Modular Glow In The Dark Right Angle Patch Cables (30cm, pack of 5)
Cat: 793648 Rel: 31 Dec 20
 
Pack of 5 right-angled patch cables
Notes: Right angle cable length is not including the connectors (plugs).

12"= 30 cm

Glow in the dark cables have to be exposed to around 10 minutes of natural light before they will glow properly.
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MRP:$16.06 SAVE 17%
coming soon $13.37
FORTHCOMING
Joue Fire Drum Pad For Board Play Modular MIDI Controller (yellow, orange)
Notes: Drum pads- Fire colour scheme
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Joue Fire Guitar Pad For Board Play Modular MIDI Controller (yellow, orange)
Cat: 781774
 
MIDI controller for Joue Play
Notes: 6-string guitar neck on 8 frets, Fire color scheme
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Joue Board Play Modular MIDI Controller With Joue App For iPad & iPhone
Notes: MIDI controller for Joue Play- iPad & iPhone compatible
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MRP:$357.38 SAVE 17%
coming soon $297.80
FORTHCOMING
Joue Fire Piano Pad For Board Play Modular MIDI Contorller (yellow, orange)
Notes: Piano keyboard- Fire colour scheme
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Joue Fire Keys Pad For Board Play Modular MIDI Controller (yellow, orange)
Notes: 17 keyboard keys- Fire colour scheme
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Joue Water Drum Pad For Board Play Modular MIDI Contoller (blue, green)
Notes: Drum pad- Water colour scheme.
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
KMA Audio Machines Wurhm Limited Edition High Mids Distortion Effects Pedal
Cat: 801794 Rel: 28 Feb 21
 
Distortion pedal
Notes: Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it's just spot on. From its absolutely brutal and grinding distortion tones it birthed an entire metal genre, while its thick walls of gain and sustain also saw it solidify its place within shoegaze and prog rock. KMA have never tried to hide the fact that their WURM Distortion is their unabashed sonic love letter to this filthy box of doom and gloom, but taking it much further and pushing the envelope of how destructive it can be.

So, they only saw it fitting to adorn their mega metal monster in the iconic black and orange colors, not only to really profess their love and admiration but to also celebrate the milestone of 1000 WURM units that have now been made.
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MRP:$266.36 SAVE 17%
coming soon $221.96
FORTHCOMING
Joue Water Guitar Pad For Board Play Modular MIDI Controller (blue, green)
Notes: 6-string guitar neck pad with 8 frets, water color scheme.
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Joue Water Keys Pad For Board Play Modular MIDI Controller (blue, green)
Notes: 17 keyboard keys, water color scheme
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MRP:$46.85 SAVE 17%
coming soon $39.03
FORTHCOMING
Fulltone Plimsoul Hi-Gain Distortion/Overdrive Pedal
Cat: 782862
 
Distortion/overdrive pedal
Notes: For many, many years you've basically had 2 choices for your Overdrive/Distortion pedals: You could either get "Soft-clipped" Bluesy, slightly compressed, (Toob Screemer, FD2, etc.) type Overdrive pedals... or you could get "Hard-Clipped" (OCD, Distortion+, Boss DS-1, etc.) type Distortion pedals.

What if there was a pedal that offered both? There is now... the Fulltone PlimSoul with it's Patented and completely unique dual stage clipping circuit which VERY accurately replicates not only the sound, but *the feel *of a tube amp with all of its subtleties and complexities.

PlimSoul has those Softer Bluesey, Compressed capabilities but also has a Second Stage that you can roll in with the turn of a little dial to add that firmer, crunchier, British output tube style Distortion! What's more is you not only hear and feel it... you can SEE the pedal reacting to your every mood via a firey LED that glows brighter and dimmer depending on how distorted it is and how hard you're hitting it.

Touch sensitive? Doesn't get any better.

Clean up with the guitar's volume control? More than any, yes, even more than the OCD.

Speaking of OCD, people ask "What's the comparison?" Easy answer: OCD has an honest flat EQ, won't change your amp's tone. PlimSoul has a gorgeous enhanced Midrange and Lower midrange... excellent to transform a combo into a Marshall-like lead machine, not so necessary if you already have a Marshall-like amp.

Good with Humbuckers as well as Single coils?
Yes.

Does it play nice with other pedals?
Yes, it has an Ideal 500K Input Impedance, ideal super low 10K output impedance.

Can I blend the 2 types of Distortion?
Yes, and you can have ONLY Soft clipped or ONLY Hard Clipped.
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MRP:$212.82 SAVE 17%
coming soon $177.35
FORTHCOMING
Analogue Systems RS-110N Multimode Filter Module
Cat: 777031 Rel: 31 Jan 21
 
multimode filter module
Notes: The RS-110 is a resonant analog multimode filter with excellent sound, resonance and four simultaneously available filter types. An insert function in the feedback loop allows you to insert other audio processors.

The module has two audio inputs, each with a level control. "unity gain" is reached at position 4, beyond this the signal will be overdriven at the filter input.

The cutoff frequency can be set manually in a range of 30Hz to over 15kHz, with additional CVs even up to 50kHz.

Separate audio outputs for the four filter types are available: 24dB low pass, 24dB high pass, 12dB band pass and 12dB notch.

Resonance goes up to self-oscillation and besides that it offers an unique feature: the socket Res-Out and Res-In act like an insert i.e. they allow you to process the audio signal in the feedback loop by other audio processors like filters, distortions, delays, frequency shifters etc.

You get very wicked results when you connect the notch output with the resonance input. It sounds very metallic and the filter behaviour gets more aggressive. Generally it is fun to cross-connect the separate outputs with the CV and audio inputs and to use the filter in a modular way.

In use:

The RS-110N consists of a two channel audio mixer followed by four, parallel, resonant filters with voltage controlled frequency and a unique "insert" point in the feedback path that generates and controls resonance.

Filter Modes

The RS-110N offers four filter modes. These are 24dB/Oct low-pass , 24dB/Oct high-pass, 12dB/Oct band-pass and 12dB/Oct band reject (often called 'notch') filtering, with the cutoff frequencies (Fc) of the high-pass and low-pass outputs being the centre frequencies of the band-pass and notch outputs. Each of these filter characteristics is described in appendix 2.

There is no switch to select between the modes because all four are available simultaneously from the appropriate output sockets. However, the cut-off and resonance can not be defined individually for each, and the controls act upon each mode equally

You can determine Fc in the range 3Hz to 50kHz using combinations of the frequency control knob and the voltage control inputs.

CV-IN:
If you apply a CV conforming to the 1V/Oct standard, Fc will track the CV in exactly the same way as an RS-90 VCO would if you applied the same CV to its CV-IN 1V/Oct socket. If the CV is supplied from a keyboard then, in common parlance, the filter is tracking the keyboard 100% and, with the resonance at maximum, you can 'play' the filter as if it were a conventional oscillator.

You can also use this facility to make a notch or band-pass filter "track" the notes you are playing, and this can be used to create many special effects.

CV-IN VARY:
You may wish Fc to track incoming CVs differently, so the C V-IN VARY input is provided. This socket and its associated LEVEL control allow you to specify the filter's sensitivity to C Vs within the range 8V/oct to approximately 0.4V/Oct. The former of these makes the filter invariant to incoming CVs, while the latter makes it oversensitive compared to CV-IN.

Resonance

The filters have a common resonance, 'Q', that you can control using the RESONANCE knob. In its fully anticlockwise position, Q is approximately zero, and there is no emphasis of the signal at Fc. As you rotate the knob clockwise Q will increase, whereupon every mode of the RS-110N will accentuate the harmonics that lie close to the cut-off frequency, Fc. Increasing Q further, the filters will exhibit ringing, and will severely colour any signals passed through them. Finally, if you continue to increase the resonance beyond a certain point, the filter will itself begin to oscillate, even in the absence of an input. Each mode will now produce a stable tone at the cutoff frequency determined by the various controls. This oscillation takes the form of (approximately) a sine wave, and it is produced by all four of the conventional audio outputs. The exact nature of the wave varies slightly from mode to mode, and you can use these subtle differences to create tonal variation when using the RS-110N as an oscillator.

Uses for RES OUT and RES IN include the introduction of voltage controlled resonance (achieved by routing the signal via an RS-180 VCA) or the creation of special effects (achieved by modifying the signal using devices such as reverb units).
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MRP:$262.35 SAVE 17%
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FORTHCOMING
Buchla Banana 12.5cm Patch Cable (violet, 12.5cm)
Cat: 799761 Rel: 28 Feb 21
 
violet 12.5cm cable
Notes: Banana cable for modular systems, as used by companies such as Buchla. The length is 12.7 centimeters.

Patch cable with banana plugs.

Length: 12.7 centimeters

Color: Violet
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MRP:$5.35
coming soon $5.02
FORTHCOMING
Buchla Banana 25cm Patch Cable (orange, 25cm)
Cat: 799763 Rel: 28 Feb 21
 
Orange 25cm patch cable
Notes: Banana cable for modular systems, as used by companies such as Buchla. The length is 25,4 centimeters.

Patch cable with banana plugs.

Length: 25,4 centimeters

Color: Orange
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MRP:$5.35
coming soon $5.02
FORTHCOMING
Buchla Banana 50cm Patch Cable (green, 50cm)
Cat: 799765 Rel: 28 Feb 21
 
Green 50cm patch cable
Notes: Banana cable for modular systems, as used by companies such as Buchla. The length is 50,8 centimeters.

Patch cable with banana plugs.

Length: 50,8 centimeters

Color: Green
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MRP:$5.35
coming soon $5.02
FORTHCOMING
Buchla Banana 75cm Patch Cable (blue, 75cm)
Cat: 799770 Rel: 28 Feb 21
 
Blue 75cm patch cable
Notes: Banana cable for modular systems, as used by companies such as Buchla. The length is 76,2 centimeters.

Patch cable with banana plugs.

Length: 76,2 centimeters

Color: Blue
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MRP:$5.35
coming soon $5.02
FORTHCOMING
Buchla Banana Shorting Bar (colour may vary)
Cat: 799772 Rel: 28 Feb 21
 
Shorting bar for Buchla synthesizers & modular systems
Notes: Banana Shorting Bar for synthesizers and modular systems made by Buchla.

Shorting Bar with banana plugs. The color may vary.
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MRP:$5.35
coming soon $5.02
FORTHCOMING
Solid Gold FX Spanish Castle Dual Vintage Fuzz Effects Pedal
Cat: 792827 Rel: 31 Dec 20
 
Fuzz pedal
Notes: The year 1969: Not only was Led Zeppelin's eponymous album released, but Woodstock took place in August. 1969 marks a turning point in the gear world also; it was the year that Dallas-Arbiter switched Fuzz Face production from the lower-gain germanium transistor core to readily available higher-gain silicon devices. The Spanish Castle pays tribute to this year.

Packed to the turrets with fuzz spread across two separate and footswitchable If 6 Was 9 circuits, the Spanish Castle is the perfect device for the fuzz-crazy and fuzz-curious alike.

The right side of the Spanish Castle represents the warmer pre-'69 circuit and is equipped with low-gain silicon transistors that emulate the rich character of germanium with more stable and consistent operation. Carbon-composition resistors further round everything out for a sound that is just like they used to roll them off the line. Unlike the Faces of yore, this circuit is equipped with a bias circuit to dial in just the right flavor, and cleans up like a champ. The original tenant of the Spanish Castle would have loved it.

On the left side, the post-'69 If 6 Was 9 circuit lies in wait. This wing of the Spanish Castle offers up higher-gain silicon transistors for a more buzzsaw-like grind, metal film resistors for tighter tolerances and an extended bias range for dialing in ripping gated fuzz textures as well as full-bodied snarl.

Each side offers up two toggle switches- Colour is a three-position switch that adjusts the EQ of its respective side, from flat EQ to two settings that shave off treble and mids. The Input toggle is also a three-position switch, changing gain and bass values that make the Spanish Castle adapt better to your wahs and other pedals.

If that's not enough control for you, each side contains an internal switch that changes between Bold and Comp modes, the former increasing the output and midrange, and the latter offering a softer, more compressed tone.

Please enjoy your stay in the Spanish Castle. You'd better make yourself at home. You're going to be here a while.

KNOBS:

Fuzz: Most Fuzz Face-style pedals only produce usable fuzz amounts at the end of the knob. Not ours. Each Fuzz knob is designed to give you an even sweep of fuzz throughout.

Bias: These knobs vary the voltage to the collector of of the second transistor, giving you burlier (clockwise) or leaner/gated fuzz tones (counter-clockwise).

Volume: Gives you more output than vintage-style Fuzz Faces. Note: when running both sides at once, Side B's Vol control becomes the "master volume" while Side A's control becomes a "saturation" control.

TOGGLE SWITCHES:

Color: These three-position switches adjust the EQ of the side they're found on. The center position of each switch bypass the EQing, while the "left" positions shave a small amount of treble and scoop a small amount of mids from their respective sides. The "right" positions shave an even greater amount of treble while scooping a greater amount of mid frequencies.

Input: These three-position switches adjust the input attenuation and wah friendliness of the side they're found on. The "right" positions leaves its respective side alone with regards to attenuation. The center positions heavily cut gain and bass, while the "left" positions mildly cut gain and bass. The center and left positions help adapt the Spanish Castle to a more wah-friendly fuzz.

UNDER THE HOOD:Bold/Comp (internal DIP): Each side contains a DIP switch that toggles between Bold and Comp settings. The Bold side increases the output level and the midrange content, while Comp delivers a softer and more compressed tone. The default setting is with Comp on.

AUXILIARY:

Input: Instrument or other pedal goes here (right side).

Output: Amplifier or other pedal goes here (left side).

True bypass footswitches: Turns each side of the effect on and off.

POWER: The Spanish Castle requires a center-negative 9-to-18VDC power adapter with at least 10mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand. There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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FORTHCOMING
Solid Gold FX Surf Rider III Spring Reverb Effects Pedal
Cat: 792828 Rel: 31 Dec 20
 
Reverb pedal
Notes: Reverb purists often point to amp reverb as being the pinnacle of spring reverb. That may be all well and good, but what if your amp just doesn't have reverb? What if your amp's reverb isn't good? What if you want more options after a simple "level" control? It is time to ride the waves into the Surf Rider III.

The Surf Rider III is the 'verb sound that Fender's engineers would have put into their Deluxes and Vibroverbs if they had access to today's technology. Solid Gold's finest 'verb box gives you that familiar Level control but then adds a plethora of options, including a boost and some nifty resonance features that adds some juice to your tank without the springs.

Versatility is the name of the Surf Rider's game. The Level control is just the beginning, adjusting the amount of reverb in the total signal. The Surf Rider also offers a Depth knob that adjusts the intensity of the reverberations, for some hauntingly huge verbs that fill the room. The expression jack on the side overrides this control, should you feel so inclined.

The Decay control increases the size of the virtual reverb tank, opening up the pedal and giving you verb tones that go on seemingly forever. Speaking of tones, there's a handy Tone knob that brightens or darkens the reverb signal, which helps tame harsh pickups or beef up flimsy ones. It's especially helpful if the Surf Rider III is your only pedalia splendid idea.

The Resonance switch unlocks the "drippiness" of the reverb tank, giving you a lot (upper position), a little (lower position) or none at all (center). Cracking open the Surf Rider III gives you a trimpot to set the lower level for just the right amount of splash.

The Boost section lets you boost or cut the reverb level. With the LED on, the pedal is in Hi mode, and off is Lo mode. There's another internal trimmer that lets you dial in Lo mode. Surf's up.

KNOBS:

Tone: This knob lightens or darkens the frequency of the reverb signal only, from dark and moody to bright and biting.

Decay: Turning the Decay control up increases the decay time of the reverb signal, giving you access to huge, surf-inspired 'verbs that linger seemingly forever.

Depth: Increases the size of the virtual spring tank and the intensity of the signal. When connecting an expression pedal, you can control this knob hands-free.

Level: Controls the volume of the reverb (wet) signal.

TOGGLE SWITCHES:

Res: This is a three-position switch that alters the resonance of the tank. The upper position adds a high amount of resonance, while the lower position adds an amount that you set via internal trimpot (see "Under the hood" below). In the center position, the toggle adds no resonance.

UNDER THE HOOD:

Res (trimpot): This trimpot allows you to adjust the amount of resonance in the reverb signal while in the "Lo" (bottom) position of the Res toggle.

Boost (trimpot): When the Boost is in the off position (LED off), a portion of the reverb level is reduced. This trimpot lets you adjust how much is reduced to fine-tune the reverb signal.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: Connecting an expression pedal here gives you hands-free control over the Depth knob.

True bypass footswitch: Turns the effect on and off.

Boost footswitch: With the LED on, the Surf Rider III is in "Hi" mode, boosting the reverb signal. With the LED off, the Surf Rider III is in "Lo" mode, and a bit of the reverb level is reduced. You can adjust how much with the Boost trimpot (see above in "Under the hood").

POWER:

The Surf Rider III requires a center-negative 9VDC power adapter with at least 53mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$252.98 SAVE 17%
coming soon $210.81
FORTHCOMING
Solid Gold FX Funk Lite Envelope Filter Effects Pedal
Cat: 792818 Rel: 31 Dec 20
 
Envelope filter effects pedal
Notes: If your mothership has touched down on planet Funkatron and you're not sporting a quality envelope filter, it'll be a long time before your tone blasts off. If you need the finest quack on the market, Solid Gold have got it. Introducing the Funk Lite.

The Funk Lite contains the envelope core from Solid Gold's all-encompassing Funkzilla, preserving all the fresh funk and powerful envelope generation you'd come to expect from one of our quackboxes. Unlike many filters that skimp on the features, this has everything you need with a sublime sweep for each knob and some extra bells.

The core of the Funk Lite contains the only three controls that you need: Depth, Freq(uency) and Attack. A toggle switch changes the direction of the sweep, giving you everything from deep dubby sloshes to Zappa filter stabs and everything in between.

Depth adjusts the intensity of the filter sweep, from shallow cuts to deep scallops, while the Freq control adjusts the center frequency of the sweep. The Attack control adjusts two parameters at once- the sensitivity of the filter opening and the decay of the overall tone. As you might expect, these three controls are incredibly interactive, with a multitude of funktions on tap.

The Funk Lite is perfectly voiced to squash any unwanted high peaks or rough envelope artifacts, and is engineered to accept line- or instrument-level signals from guitar and bass to keys and anything else you can think of. Combine all this with an all-analog signal path and true bypass switching, and you have a funk box worth talking about.

KNOBS:

Depth: From light and funky to deep and fun-kay, this knob adjusts the width of the envelope effect.

Freq: This control adjusts the frequency of the filter sweeps. At noon, the control is set neutral. Turn the knob down for lower-frequency dub blasts and turn it up for higher-frequency stabs that really cut.

Attack: This control determines how hard you have to hit the strings to get the filter to "open up." It adjusts two parameters at onceidecay time and the sensitivity. Turning the control up increases sensitivity but decreases the decay time, while turning it down decreases the sensitivity but increases the decay time. Turning this knob to zero slams the envelope shut and you can dial in fixed filter or "cocked wah" tones.

TOGGLE SWITCHES

Dir: Changes the sweep direction between forward and reverse.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER: The Funk Lite requires a center-negative 9VDC power adapter with at least 6mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS

4.39" x 2.34" x 1.06" (112 x 60 x 27mm)
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MRP:$226.21 SAVE 17%
coming soon $188.50
FORTHCOMING
Solid Gold FX Funkzilla Tap Tempo Envelope Filter Effects Pedal
Cat: 792820 Rel: 31 Dec 20
 
Envelope filter effects pedal
Notes: When it comes to envelope filters, there are a funkload of options. Unfortunately, there are plenty of parameters with which to control them, and almost all envelope filters deny you access to at least one. "Let's just not give them a frequency control", some might say. Fear not, funkseeker, as the Funkzilla smashes all preconceptions of what an envelope filter should do and sound like- and it works on everything; guitars, bass, keys, you name it.

The Funkzilla is Solid Gold's take on everything enveloped, filtered or both. While all envelope filters give you the ability to coax that familiar "quack" sound from them, the Funkzilla contains the ability to shift the filtering from envelope control to LFO control. In other words, it's the ultimate funk box.

Attack, Depth and Freq(uency) controls come standard, as does the envelope direction (up or down). Beyond that, the heart of the Funkzilla lies within its Tap/Env switch. This switch toggles between standard envelope filter sounds and more dynamic autosweep sounds that take away the need for dynamics.

With this switch set to Tap, a plethora of options opens up. The Speed and Mode knobs become active, as does the tap switch, along with 1-2-4 and Wave toggles. The Speed knob now controls the speed of the auto-sweep (overridden by the Tap switch), and the 1-2-4 toggle controls the time subdivisions.

You can adjust the Funkzilla's Mode control to one of eight different rhythmic patterns for the utmost expression, and across those patterns, you can choose one of three different waveformsisine, ramp, and square.

An expression jack overrides the Speed control for some truly expressive filtering options, with some phaser and flanger overtones available for the brave.

Even without the bells and whistles, the Funkzilla is one killer envelope box and funks the joint up right out of the box. With the bells and whistles? Look out.

KNOBS:

Speed: When in Tap mode, this knob controls the rate at which the filter sweeps automatically, from near-frozen pulses to hyperdrive.

Mode: This eight-position control cycles through several rhythms and accents when in Tap mode. Because of the different rhythms, it is highly interactive with the standard filtering controls. Turning the Mode control fully left bypasses all functions.

Depth: Controls the intensity of the filter sweep across both Tap and Envelope modes.

Freq: Adjusts the center frequency of the filter sweeps. Turning the knob lower centers the filtering on the dubby side of things while turning it up gets you into Zappa territory. Works across both Tap and Envelope modes.

Attack: This control adjusts the time it takes for the filter to "open." Turning it doesn causes the envelope to open slowly, and turning it up opens the envelope very quickly. This knob works only in Envelope mode.

TOGGLE SWITCHES:

1 2 4: The tempo range of the Funkzilla lives in this switch. In Tap mode, it sets the subdivisions of your tapping. In standard mode, it sets the range of the Speed control.

Wave: A three position switch changes LFO waveforms between Sine, Ramp and Square modes. This switch is only available in Tap mode.

Dir: This switch toggles between forward and reverse envelope operations, and is available across both Envelope and Tap modes.

Tap/Env: Changes between the two main modes: Tap and Envelope. In Tap mode, the filter speed is set by either Speed knob, expression pedal or tap tempo. Each control will override the last one used. Envelope mode works as a standard envelope filter. Make sure that your instrument's volume is set to maximum for best results.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: In Tap mode, connecting an expression pedal gives hands-free control over the Speed knob for some psychedelic filter action. This effect is not available in Envelope mode.

True bypass footswitch: Turns the effect on and off.

Tap tempo footswitch: In Tap mode, sets the tempo of the filter sweeps.

POWER:

The Funkzilla requires a center-negative 9VDC power adapter with at least 15mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$327.93 SAVE 17%
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FORTHCOMING
Solid Gold FX If 6 Was 9 - BC183 Fuzz Face Inspired Fuzz Effects Pedal
Cat: 792821 Rel: 31 Dec 20
 
Fuzz pedal
Notes: If there's one pedal that captures the soul of classic rock, the Fuzz Face is probably it. For those unfamiliar with Fuzz Face lore, as germanium parts fell out of vogue due to reliability issues, Dallas-Arbiter shifted to silicon parts. Both versions were used extensively on thousands of records.

Solid Gold's If 6 Was 9 pays tribute to all the players who contributed to the pantheon of rock, with specially selected components to get your mojo working. We put two BC183 devices in each one, which is widely regarded as a happy medium between the potentially mushy compression of germanium and the brash sawmill-like fuzz of silicon. The tone of the If 6 Was 9 is just thatismooth and refined without falling apart on chords, and with loads of sustain on single-note work.

The specially-selected BC183 parts gives you a thick balanced bass response and a tight fuzz tone- just right. The If 6 Was 9 supplies a two-way tone toggle switch that adjusts the fuzz character to match with the rest of your rig.

Fuzz Face tone has been whittled down to such a precise science that players now know what voltage at which they prefer their Fuzz Face to be run. Eric Johnson famously kept a box full of batteries drained to various degrees. Now you can harness this power with an external Bias controliset the voltage to whatever you wish for full-bodied fuzz or ripping splatty tones that explode when you dig in.

The Fuzz and Bias controls work in beautiful synchronicity with your guitar's volume control, bringing all kinds of flavors to the table. Anything from mild overdrive to almost envelope-like snarl is available with just a couple turns. Set the onboard controls just how you like and leave the heavy lifting to your guitar.

KNOBS:

Fuzz: Unlike the original, this control has range throughout, instead of just the maximum. Go from sparkling harmonic enhancement to blissed-out sustain with one turn.

Bias: This varies the voltage to Q2's collector, giving you a huge range of tones from zippy and lean to full and throaty.

Vol: There's more on tap here than in the stock unit, letting you really give your amp what-for.

TOGGLE SWITCHES:

Tone: This toggle switch delivers two different fuzz voicings. Chose from Tight (left) or Thick (right).

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The If 6 Was 9 requires a center-negative 9VDC power adapter with at least 3mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS: 4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$226.21 SAVE 17%
coming soon $188.50
FORTHCOMING
Solid Gold FX 76 Octave Fuzz Octave-Up Fuzz Effects Pedal
Cat: 792771 Rel: 31 Dec 20
 
Fuzz pedal
Notes: While the Western world was preoccupied with its Fuzz Faces, Tone Benders and others, the Eastern world was bubbling up with plenty of fuzzes of its own. This very distinct era in fuzz history gave us many treasures that have been crowned fuzz legends - the Univox Super Fuzz, Ibanez Standard Fuzz, Ace Tone Fuzz Master, Shin-Ei Companion and several others.

The 76 offers up a comprehensive guided tour to the best that the Standard Fuzz and its ilk has to offer without any of the drawbacks, such as a quiet signal or fragile wiring. On its face, the 76 gives you a multi-voiced germanium-equipped fuzz unit that gives you hints of octave-up snarl while it ruthlessly pummels your amp with hair and fangs.

Aside from standard volume and fuzz controls, and unlike the original Standard Fuzz, the 76 also gives you a texture control that sweeps the midrange, effectively giving you many flavors of fuzz across several positions. A three-way colour switch offers a little frequency scoop, but the center position is off, for full-frequency fuzz madness.

The internals contain two DIP switches that alter the character of the unit. The first, clip, changes the clipping stack from the stock Standard Fuzz arrangement of two germaniums into a hybrid germanium-silicon arrangement. Engaging this switch opens the sound up, increases crunch and definition for a searing lead tone.

The other switch, Dark, engages a treble cut on the input, which helps to prep the incoming signal for the fuzz onslaught. This switch should be engaged if the 76 follows a bright dirt pedal or a jangly set of pickups.

The new Standard Fuzz is here and is a forced to be reckoned with, leveling audiences with its punishing buzzsaw grind and unbridled harmonics. The 76 is your favourite fuzz nerd's favorite fuzz.

KNOBS:

Fuzz: Turning the Fuzz up ranges from a little crunch to more gain than you could ever want.

Texture: This control adjusts the mid frequency of the 76. Go from a deep scoop to a mid-drenched grind with a simple twist

Level: Adjusts the output volume, with more than enough on tap.

TOGGLE SWITCHES:

Color: Switches between three different frequency ranges, from scooped to full-frequency fuzz tones.

UNDER THE HOOD:

Clip (internal DIP): When on, the 76 employs germanium diodes for a spongier signal and a harder clipping threshold. When off, a silicon-germanium combo is employed, opening the fuzz signal up a little more. The default is on.

Dark (internal DIP): When on, the 76 cuts a good amount of treble from the input signal, useful for single-coils and wicking away treble from anything before it. When off, the treble cut is lifted. The default is off.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns effect on and off.

POWER:

The 76 requires a center-negative 9VDC power adapter with at least 5mA of current (not included). Almost all power supplies meet this requirement.

DIMENSIONS:

4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$226.21 SAVE 20%
coming soon $180.68
FORTHCOMING
Solid Gold FX Lysis Poly Octave Down Fuzz Modulator Effects Pedal
Cat: 792822 Rel: 31 Dec 20
 
Fuzz/modulation/filter pedal
Notes: If you've ever awoken in a cold sweat dreaming of synthesizers, here's the ticket: Lysis. There's always been something about synth players for which guitarists and bassists alike have yearned. Though they're essentially the same instrument, the onboard accoutrements are what makes all the differenceioscillators, filters, LFOs; these are the makings of true electronic synthesis, and these are all things we stuffed into the Lysis.

All of the bells and whistles of synths are featured in full within the walls of the Lysis. For starters, the Lysis serves up a specially-designed wave-shaping fuzz circuit. This helps the Lysis sound more like a square wave or sawtooth wave.

The DSP-controlled polyphonic octave circuit takes all the clang you've cooked up and sends it south, to a rich two-voice octave-down synthesizer that tracks one note or 88, all at once. Serve Lysis your longest signal chain on a platter, and it will eat it for breakfast.

The Filter section is where things get really interesting. For starters, the Lysis gives you the option to blend the octave/fuzz section with the filtering, so you can enjoy punishing octave-down fuzz, rich, goopy filter sweeps or anything in between. The Lysis also gives you a switchable high-pass and low-pass filter, along with the option to manually manipulate the filter's cutoff or have it automatically modulate.

If you choose the manual path, an expression pedal jack gives you hands-free control of the Freq knob, for a sound-bending filter-wah effect that can absorb the impact of the most well-equipped dirt section. Should you choose modulation, the Freq knob controls the rate of the effect. An expression pedal gives you foot control over the speed for some psychedelic guitar freakouts or smooth undulation.

An onboard vibrato circuit finishes off the signal path of the Lysis. When in fixed mode, Lysis kicks in the vibrato, but in modulated mode, a filter LFO is engaged and Mod controls the rate of that. The two-position Warp switch works in tandem with the corresponding footswitch, either maxing or killing the Mod knob depending on the position.
Much more than a mere effect Lysis is its own future forward entity, a cellular organism of the sonic variety bursting with possibilities.

POWER:

The Lysis requires a center-negative 9VDC power adapter with at least 60mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand. There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$327.93 SAVE 22%
coming soon $254.30
FORTHCOMING
Solid Gold FX 76 Plus Octave-Up Fuzz & Filter Effects Pedal
Cat: 792775 Rel: 31 Dec 20
 
Fuzz & filter effects pedal
Notes: Introducing the new 76 Plus Octave-Up Fuzz & Filter Effects Pedal. The 76 Plus takes inspiration from the lauded Univox Super Fuzz, Shin-Ei Companion and Ibanez Standard Fuzz. It's a powerful, cutting fuzz with a baked-in octave up that's especially apparent the higher you go up the fretboard. Do you like fuzz? Then you'll especially like this fuzz.

But what really makes this pedal special is the inclusion of an independent wah-like filter that's as tasty as it is useable. The filter section of the 76 Plus offers a mind-boggling number of ways to add movement to your tone, from triangle and sawtooth waveforms, to 2, 3 and 4-step sequences.

This filter speed can be dialed in perfectly via the speed knob or for you control-freaks, you can use an external expression pedal (not included) to give you infinitely variable control. Rather than "boxing you in," the 76 Plus gives you both options.

Knobs & Switches:

Vol Knob (Right): Adjusts the Fuzz output volume, from quiet to your mum yelling, "TURN IT DOWN!"

Texture Knob: This control adjusts the mid frequency of the 76 Plus from a deep scoop to a mid-drenched grind.

Fuzz Knob: When you turn the Fuzz knob up, you get more fuzz- and vice versa.

Speed Knob: Adjusts the speed of the filter (disconnected when expression is plugged in).

Volume Knob (Left): Adjusts the output volume of the filter.

Color Switch: Shaves some top-end for a smoother, woolier fuzz. "Left" rolls off some treble, "Right" rolls off even more treble, and "Center" rolls off no treble.

Clip Switch: "Left" is the original vintage setting (heavy compression & extra breakup), "Right" is a tamer, balanced option, and "Center" is a punchy setting with the compression dialed back a bit.

Mode Switch: Toggles between three available filter modes: Manual (left), Triangle (center), and Square (right). Each mode has 3 corresponding shapes, controlled by the "Shape" switch.

Input/Output:Instrument or other pedal goes on the right side, Amplifier or other pedal goes on the left side.

EXP Input: Enables the Filter to be controlled by an expression pedal (not included).

True bypass Footswitches:Turns each side of the effect on and off.

Power:This pedal requires a center-negative 9-to-18VDC power adapter with at least 10mA of current (not included). There is no option for a battery.

Dimensions:4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$327.93 SAVE 22%
coming soon $256.54
FORTHCOMING
Solid Gold FX Rosie Tone Bending Fuzz Effects Pedal
Cat: 792825 Rel: 31 Dec 20
 
Fuzz pedal
Notes: There's no doubt that the Fuzz Face and Tone Bender share the crown for "most important fuzz". Just as many iconic records were cut with the Bender as the Fuzz Face, and each original unit commands scads of money in the used marketplace. And with all the reliability issues that plague vintage models, does there exist a silicon Tone Bender MKII?

Introducing the Rosie. Equipped with silicon semiconductors, you won't hear your tone seize up on a cold or hot day, and you won't get a load of choosiness with regards to your guitar stable. The Rosie works effortlessly across all guitar types and in all conditions.

You're treated to a JFET input section that lets the flavor sing regardless of where you place it, even after a wah. It's not what you might expect from a silicon Tone Bender, but Solid Gold are used to exceeding expectations.

The highly specialized transistor selection ensures smoothness and mojo throughout all knob sweeps, with nothing a hair out of place. And the cleanup is exceptional, with a feel befitting a silicon Tone Bender. Just like many silicon fuzzes, you get the best of the worlds of cleanup and screaming leads.

You can pair the Rosie to your specific guitar with Solid Gold's two-way Tone toggle, adapting the Rosie to the thinnest lipstick pickups to the beefiest humbucker you have. An onboard Bias control lets you adapt the voltage to your liking. Ever notice how some fuzzes sound better with old batteries? This is why, and now you can adjust the voltage to taste, lending a different flavor to our silicon Tone Bender.

Whether it's modern chord work or vintage violin-like sustain, the Rosie fulfills all your needs. It's a whole lotta pedal, and it can be yours today.

KNOBS: Turning this control up delivers everything from sparkling crunch to saturated fuzz bliss.

Bias: Ever noticed how some fuzz pedals sound better with an old dying battery? The Bias control lets you adjust the amount of voltage to the final transistor, giving you plenty of splatty singing lead tones, full-bodied fuzz and everything in between.

Vol: Unlike most vintage-style fuzzes, the Rosie gives you plenty of output.

TOGGLE SWITCHES:

Tone: This two-position toggle switch changes between standard and bass reduction modes. Standard mode gives you the push needed to fatten up single coils, while bass reduction mode makes sure you don't beef things up too much.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The Rosie requires a center-negative 9VDC power adapter with at least 5mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$212.82 SAVE 17%
coming soon $176.23
FORTHCOMING
Solid Gold FX Zeta DLX Deluxe Preamp Overdrive & Boost Effects Pedal
Cat: 792830 Rel: 31 Dec 20
 
Overdriver & boost effects pedal
Notes: Guitar tone is tricky business- guitarists are sometimes forced to choose between great tone and utility. Are you also tired of choosing? Venture ahead, brothers and sisters of tone - introducing the Zeta DLX.

The Zeta DLX combines three of the most useful tricks in the gain-based tonal world: Preamp, drive and boost. The entirety of the Zeta DLX comprises a preamp circuit, so that you can keep your tone fresh even if you have to go direct, or your amp options are limited on fly-out gigs. However, each since each side is individually switchable, we must look at the sum of the parts.

The left side of the Zeta DLX serves up a generous drive circuit that has extremely wide sweeps of all the parameters, from jangly boost to crunchy OD. Three of the toggle switches give you options to tailor the Zeta DLX to your individual needs. The Mids and Body toggles allow you to adjust the range of those particular frequency bands, while the Clip switch lets you change the clipping characteristics. A bonus trimpot inside even lets you adjust the overall gain of the circuit.

On the right side of the Zeta DLX is the JFET-equipped individually selectable boost function, with a single knob to control the amount. The B. Tone toggle gives you control over the bass frequencies of the boost, while Pre/Post lets you choose whether the boost goes before or after the drive circuit. You can use this to great effect when trying to get either a super-saturated dirt tone or a burlier version of the drive side.

Don't get caught between a rock and a tonal hard place againiplug into the Zeta DLX and feel the gear instead of just hearing it.

KNOBS:

Volume: Gives you a tasteful amount of volume on tap, enough to work with all kinds of setups.

Tone: Adjusts the bass and treble content of the drive side.

Gain: Adjusts both the amount of overdrive and the amount of treble. As you roll the Gain up, more high end enters the signal path, allowing for clarity within the saturation.

Level: Governs the amount of boost engaged when in Boost mode. Be careful with this one!

TOGGLE SWITCHES:

Post/Pre: This switch controls the order of both channels when they are used simultaneously. Toggling this switch puts the Boost before the Drive or vice-versa for two different stacked tones.

Tone: This three-position toggle controls the level of the bass frequencies pushed by the Boost channel. When set to the left, the bass is the stock value. In the center, you'll find a bass cut, and the right position is a bass boost.

Body: Controls the level of the bass frequencies in the Drive channel. The corresponding switch positions are the same as the B. Tone switch above.

Mids: Adjusts the amount of mids present in the Drive channel. The left position is flat, center position s boosted, and the right position is scooped.

Clip: This three-position switch controls which type of clipping diodes are present in the drive channel. The left position selects a silicon-germanium hybrid for a bit more compression and crunch, the right position selects silicon parts for a bit more dynamics and sizzle, and the center position removes them altogether for a raw, throaty tone.

UNDER THE HOOD:

Gain (trimpot): Adjusts the overall gain of the drive channel, and thusly, the range of the external Gain control.

Bias 1 and Bias 2 trimpots are not user-adjustable.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitches: Turns corresponding channels on and off.

POWER:

The Zeta DLX requires a center-negative 9VDC power adapter with at least 30mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$287.78 SAVE 17%
coming soon $238.69
FORTHCOMING
Solid Gold FX Counter Current Reverb & Feedbacker Effects Pedal
Cat: 792808 Rel: 31 Dec 20
 
Reverb + feedback pedal
Notes: You've dipped your toes in the water with the Surf Rider, now it's time to get swept away in the Counter Current- the do-it-all immersive lo-fi reverb unit that gives you just the type of degraded reverb madness that you need to create crumbling walls of verb, 8-track garage rock ambience, and swells of bit-starved echo.

The heart of the Counter Current is three interconnected and highly interactive controls and one footswitch: F.Back (Feedback), Decay, Drive and the Momentary Feedback switch. By using these controls together and with generosity, all kinds of reverb sounds open right up.

Let's start with the Decay control: This knob affects the end result of all your careful knob placement, by extending the, well, decay time of the virtual reverb tank. Dialing it in nice and high keeps the trails ringing out longer and really lets you flood the front end of your amp with the heart of the Counter Current.

In keeping with lo-fi reverb tradition, the Drive control overloads the virtual reverb tank transducers, saturating the front end with a touch of extra gain that excites your tone in the best way. Dialing this control back gives you a characterfully clean reverb sound that still sounds an absolute treat, but go ahead- tweak that thang.

The Counter Current's Feedback control recycles the post-'verb signal into the front end for a chaotically rich reverb tone, increasing the resonance and augmenting the Drive control. Turning the control fully counterclockwise shuts the back door and keeps the feedback out of the input, retaining sparkle and clarity.

Of course, the Tone knob does wet-signal tone knob things, lightening or darkening the reverb signal, and the Level control adds wet signal to the mix. After you set those, it's time to examine the Momentary Feedback switch. Buckle up.

The Counter Current's secret weapon, the Momentary Feedback switch ramps up the feedback for some oscillating blasts of reverb just when you want them. Not only is it a killer tone, but it's a rock 'n' roll set ender. This switch's function, as you might expect, is extremely dependent on where the "core three" knobs are set, giving you everything from crunchy spring drip to bottomless wells of soft scuzzy ambience and everything in between. Step inside the Counter Current. It'll treat you well.

KNOBS:

Tone: This knob adjusts the frequencies of the reverb signal only, giving you 'verb tones from dark and intimate to bright and present.

F. Back: This adjusts the intensity of the momentary feedback footswitch function and works in conjunction with the drive and tone controls. Increasing this control will create a faster and more intense feedback.

Decay: Increases the size of the reverb space and the intensity of the signal.

Drive: This control lets you saturate the virtual transducers on the reverb unit, giving you additional grit, grime and drive before the 'verb kicks in.

Level: Controls the volume of the reverb (wet) signal.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: Connecting an expression pedal here gives you hands-free control over the Drive.

True bypass footswitch: Turns the effect on and off.

Momentary feedback footswitch: Hitting this switch will cause the reverb to feed back into itself creating sounds ranging from a mild oscillation to a screeching howl depending on where the f.back and drive controls are set.

POWER:

The Counter Current requires a center-negative 9VDC power adapter with at least 53mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$252.98 SAVE 17%
coming soon $210.81
FORTHCOMING
Solid Gold FX Beta DLX Deluxe Bass Preamp Overdrive & Boost Effects Pedal
Cat: 792793 Rel: 31 Dec 20
 
Preamp overdrive & boost effects pedal
Notes: What if you had an all-in-one tonal powerhouse that could keep your tone snappy and crisp, with a boatload of options to keep your signal buoyant? The Beta DLX is such a device. By pairing it with your bass, you create a highly sophisticated tonal symbiote and your audience and bandmates will thank you.

The makeup of the Beta DLX is a super-customizable drive circuit that's paired with a juicy boost. Let's start with the drive circuit.

Volume, Tone and Gain controls come standard, and each one has an unreal range of flavors, but the five-pack of toggle switches are where the magic happens. The Beta DLX offers up fine-tuning for both channels, but Body, Mids and Clip are within the drive side's domain. Body adjusts the bass frequencies, while Mids does the same with the midrange frequencies. Clip changes the clipping threshold of the drive side. A bonus trimpot inside lets you adjust the overall gain for this side- truly putting the DLX in Beta DLX.

The Boost section of the Beta DLX gives you a powerful JFET-equipped boost. Yes, you can use it just by itself- a miracle! On this side, the B. Tone control alters the bass frequencies of the boost, while Pre/Post determines whether or not the boost side comes before or after the drive sideiuse the Pre side to push the drive side into sweet saturation, or use the Post side to kick your drive tone up a notch.

If you've ever found your bass tone lacking due to the multitude of hurdles you're forced to jump, the Beta DLX is your ace in the hole.

KNOBS:

Volume: Gives you a tasteful amount of volume on tap, enough to work with all kinds of setups.

Tone: Adjusts the bass and treble content of the drive side.

Gain: Adjusts both the amount of overdrive and the amount of treble. As you roll the Gain up, more high end enters the signal path, allowing for clarity within the saturation.

Level: Governs the amount of boost engaged when in Boost mode. Be careful with this one!

TOGGLE SWITCHES:

Post/Pre: This switch controls the order of both channels when they are used simultaneously. Toggling this switch puts the Boost before the Drive or vice-versa for two different stacked tones.

Tone: This three-position toggle controls the level of the bass frequencies pushed by the Boost channel. When set to the left, the bass is the stock value. In the center, you'll find a bass cut, and the right position is a bass boost.

Body: Controls the level of the bass frequencies in the Drive channel. The corresponding switch positions are the same as the B. Tone switch above.

Mids: Adjusts the amount of mids present in the Drive channel. The left position is flat, center position s boosted, and the right position is scooped.

Clip: This three-position switch controls which type of clipping diodes are present in the drive channel. The left position selects a silicon-germanium hybrid for a bit more compression and crunch, the right position selects silicon parts for a bit more dynamics and sizzle, and the center position removes them altogether for a raw, throaty tone.

UNDER THE HOOD

Gain (trimpot): Adjusts the overall gain of the drive channel, and thusly, the range of the external Gain control.

Bias 1 and Bias 2 trimpots are not user-adjustable.

AUXILIARY

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitches: Turns corresponding channels on and off.

POWER:

The Beta DLX requires a center-negative 9VDC power adapter with at least 30mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$287.78 SAVE 17%
coming soon $239.82
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