SUMMER NAMM 2016: Jam Pedals Delay Llama Supreme
Jam Pedals' new delay offers some seriously different sounds.
Jam pedals have always been a source of interesting, unique and beautifully presented effects, and so it is the case here with their latest addition at Summer NAMM 2016; introducing the Delay Llama Supreme.
A souped up version of their successful Delay Llama pedal, the supreme adds a load of cool features; a Note-Divide control, two expression in's for delay level and delay time, and a modulation switch.
With such an entourage of wacky features, the Delay Llama could be an essential addition for all players looking for a delay with a twist.
Squier release Ryan Jarman (The Cribs) signature guitar and Gary Jarman signature bass
These Cribs signature models combine vintage style with modern features.
Squier have released two new signature models for Ryan and Gary Jarman of UK indie rockers the Cribs.
The Ryan Jarman signature guitar reflects the Cribs' frontman's sonic philosophy and combines stylistic elements from his favorites offset guitars to create an instrument with a unique voice and body shape.
With Duncan Designed single-coil Jaguar® neck pickup and a output humbucking bridge pickup, this signature models covers a huge range of tones. Featuring a master volume and tone controls along with phase and on/off switches for each pickup, and a toggle killswitch, this unique model allows the player to shape their tone to meet the demands of your music. A vintage-style Jazzmaster bridge, large ‘60s-style headstock and metal control plate offer stylish looks and practical usage.
The Gary Jarman Signature Bass was designed in collaboration with the team at Squire and offers an amalgam of features from The Cribs bassist’s favourite Fender instruments. Sporting a growling P Bass split-coil middle pickup for roaring, punchy tone, the distinctive body shape borrows elements from the traditional Precision shape, as well as the rarely-seen Bass V. A HiMass bridge delivers added sustain and attack, while Jazz Bass control knobs, a metal control plate and original Precision Bass headstock complete the package.
Both models are available to pre-order now.
NAMM: Gretsch Streamliner Series
These new Gretsch models won't break the bank.
What is happening!?
2016 may well be the year that Gretsch broke the mold with their absolutely mind blowing Streamliner series. The new budget line series of guitars from Gretsch; the Streamliner range features double cuts, single cuts and junior models in such majestic finishes as Gold Dust, Walnut Stain, and Torino Green. If that wasn't enough, a number of the models come fitted with Bigsby's and all feature the brand new Broad'tron humbuckers, Gretsch's venture into full-size humbucking pick-ups.
Every model in the series comes in at under £400, making the Streamliner series probably the most affordable and best looking range of guitars on the market as of 2016.
Grab a bargain!
NAMM 2016: Hungry Robot WASH
This interesting delay creates beautiful and haunting effects.
Hungry Robot have announced the WASH, a tap-tempo enabled wash delay.
At its most basic, The Wash is an analog-voiced, tap-tempo delay with just over 1000ms of delay time. The Wash can be used independently as a standalone delay or with in conjunction with "Wash Circuit."
The Wash circuit (right footswitch) adds reverb to the signal and through a complicated network of internal feedback loops, subtle multi-head Binson effect, and what Hungry Robot have coined "ripple effect," It works to add a wash to your signal in ways that can't be accomplished by stacking reverbs and delays in series. It does all of this while keeping the clarity and presence of your original signal without getting lost in the soup of decay.
Hungry Robot WASH features:
• "Ripple" knob controls The Ripple Effect. The Ripple Effect is a feature in which each successive delay trail slowly scatters and transforms into reverb.
• The "Resonance" knob is to fine-tune the resonance and decay of the wash.
• The Middle "The Wash" knob controls the mix/level of the wash.
NAMM 2016: Hungry Robot Karman Line
A joystick controlled delay? YES PLEASE.
Hungry Robot have announced the Kármán Line, a joystick delay and oscillation device designed with experimental musicians in mind.
The base of the pedal is a delay that is heavily filtered and becomes darker with every successive repeat. Though the delay is digital, its voicing is heavily influenced by the dark repeats and degenerative decay in delays like the DM-2 which is known for its beautiful self-oscillation. It also boasts an LFO driven, analog modulation for vinyl-esque warping.
The Y-Axis of the joystick changes the delay time (up to 1000ms) and the X-Axis controls the modulation rate. The Kármán Line employs a delay chip that makes an audible warping noise when you change the delay time for very interesting results, especially when the delay is driven into self-oscillation.
The right footswitch is called "Launch" switch. When you turn this on, it automatically overloads the circuit with out-of-control ramping oscillation. Because of the unique characteristics of the delay chip, manipulating the joystick gives you some out-of-this-world alien sounds. The Kármán Line has a secondary mix knob that replaces the primary mix knob when the Launch switch is activated.
NAMM 2016: Malekko Sneak Attack and Lil’ Buddy
Malekko are pushing boundaries or in this case, the envelope.
Malekko Heavy Industry have announced the Sneak Attack digitally controlled analogue VCA pedal and Lil' Buddy Expander.
The Sneak Attack is a digitally controlled analog VCA pedal that can also be manually triggered or used in a tremolo mode. The core of the pedal is an Attack/Decay envelope generator with separate length and curve controls for both the attack and decay segments. The envelope can be triggered or cycled in several ways using the input signal, built in footswitch, Lil’ Buddy footswitch or external clock/click track. Lil’ Buddy also expands the feature set to include tap tempo and additional, unique control over the attack and decay.
Sneak Attack and Lil' Buddy Features:
• Attack and Decay Curve control
• Attack and Decay Length control
• Volume/Depth control
• Threshold control with multiplication of tempo by 1,2,3 or 4 while in tap tempo mode
• Single Trigger Modes as well as Cycling (LFO) Modes• Auto trigger using input signal threshold
• Manual trigger using built in footswitch in manual trigger mode (Attack only)
• Manual trigger using Lil’ Buddy external footswitch
• Manual trigger using external click track
• Built in LFO mode cycles the A/D envelope
• Tap tempo LFO using optional Lil’ Buddy external footswitch
• Tap tempo LFO using external click track
NAMM 2016: Marshall CODE amplifiers
Marshall's latest offering includes authentic amp modelling and Bluetooth compatibility.
Marshall and Softube have joined forces to produce the brand new CODE series of amplifiers.
Offering classic and contemporary Marshall tones, the Marshall-Softube modelling includes 14 preamps, four power amps and eight speaker cabinets. Preamps include JTM45 2245, 1962 Bluesbreaker, 1959SLP Plexi, JCM800 2203, JCM2555 Silver Jubilee, JCM2000 DSL100, JVM410H and with the power amp models listed by their valve types. EL34, 5881, EL84 & 6L6 models all appear alongside 1960, 1960V, 1960AX, 1936V, 1912, 1974X speaker cabs.
Offered in 25w, 50w and 100w varieties, there is a CODE combo for every situation. They're joined by a 100w head and series-specific 4x12 cabinet and a compatible footswitch. The entire range is Bluetooth compatible and allows players to stream audio and remotely control the amp via the Marshall Gateway app.
Marshall CODE Series Features:
• 100 user editable presets
• 14 preamp models
• 4 power amp models
• 8 speaker cabinet models
• 24 pro quality FX
• Up to 5 FX simultaneously
• Bluetooth & USB connectivity
• Marshall Gateway compatible
• Headphone output
• Line input
• Tuner
• Programmable footcontroller (sold separately)
Check out Marshall's video demo below:
NAMM: Seymour Duncan Catalina Chorus
A dynamic and interactive chorus.
The Seymour Duncan Catalina Dynamic Chorus is designed for analog character and an unprecedented level of interactivity.
With controls for Mix, Rate, Depth and Delay, as well as a treble-attenuating Tone control for dialing in the clarity or warmth of the wet signal, the Catalina offers an incredible amount of control. It also features a unique Dynamic switch which allows you to interact with the Depth control as you play: the Hard mode signals the chorus depth to increase as you play with more intensity, or flip it to Soft mode and you will receive more effect as you play lighter.
There's also a Threshold control to dial in the sensitivity of the Dynamic feature. The Catalina has a mono input and stereo outputs, and the footswitch is True Bypass.
Like all Seymour Duncan pedals, the Catalina Dynamic Chorus is designed and assembled at the Duncan Santa Barbara, California factory by the same team responsible for our legendary pickups.
Check out Seymour Duncan's demo video below:
NAMM 2016: Electro-Harmonix Bass Preacher
Can you feel the compression?
This might be one of the most exciting game changers of 2016!!!
Yes, I know it's a bass compressor, not the most tantalizing of releases one might think, but the bass compressor market is actually surprisingly tough. The aim of the game recently has been to put as many controls on bass comps as possible, and maybe require the player to have a complete studio engineer's understanding of multi-band compression. Prices have been going through the roof, with the most popular incarnation of last year being the MXR Bass Compressor; a great pedal, riddled with controls for every subtle nuance of your tone, hitting the shelves at between £150 and £180.
Bass players aren't forced into this price range by any means, but the alternatives are non-bass specific simple compressors, such as the Dynacomp or the legendary Boss CS-3, both great, but not 100% designed for the mighty full range of a modern bass guitar.
Enter the EHX Bass Preacher. As simple as it is affordable, the Preacher offers intuitive preset attack settings (fast, medium and slow) a volume control, and a sustain control for the overall compression. The pedal has a broad -10db to +2db making it ideal for either passive or active basses.
What more could you need? The Preacher offers a wide range of usable types of compression without any of the faff of the modern day Bass specific compressor, and hitting the shelves at well under the £100 mark, it will surely sell by the truck load and find its way onto ever discerning bass players board this year.
NAMM 2016: Vox AC Series heads and cabs
Money can't buy me love, but it can now buy me a Vox head and cab!
New for 2016, Vox have announced the reintroduction of their legendary AC-15 and AC-30 heads, coupled with a charming 2x12 cabinet housed in the same chassis as their ever-present AC-30 combo amp.
The announcement isn't especially unexpected, and it certainly doesn't blow the doors off in terms of unique or innovative NAMM releases for this year, but it is nonetheless an extremely important addition to Vox's catalog.
That might seem like an odd statement considering it is nothing more than the separation of two existing combo amplifiers into head and cab's, and that, in both cases, the separation adds at least an extra few pounds to the overall weight of what is already one of the heaviest, most cumbersome amplifiers in its class.
It has certainly been met with mixed reactions by the guitar community. Weight is a hot topic at the moment, and despite being utterly, utterly irrelevant, people have started banging on about it a lot recently. Amplifier manufacturers, ignore this at your peril! Of course, Vox have been reissuing the same amp for nearly 60 years with very little progression in the rest of their catalog, so it's unlikely that they'll pay any attention to this trend.
The reason that this reintroduction is so very important, is that it makes Vox a viable option for touring musicians again. Touring musicians are a key demographic for amplifier manufacturers to appeal to; they buy frequently, they're touring, so the manufacturers equipment is being showcased all over the place, and touring musicians tend to be very loyal, reliability is important, and it, generally speaking, guarantees repeat custom.
Now I'm not suggesting that combos aren't a reasonable option for touring musicians, but 9 times out of 10 it is preferable to use separates for ease of change overs, supporting slots etc. Not to mention, if you're touring, you might want to bring a spare, and who wants to bring a spare combo... let alone an AC-30! The head offers you flexibility, it also gives players the option to partner it with other cabinets should they choose.
The Vox AC-15 and 30 are a massively important part of musical heritage, and until now they have been difficult to integrate into a modern set up for a lot of musicians. Separating them into head units at such affordable prices puts them well within the reach of most musicians and provides interesting competition to Orange and Fender's dominance of the budget amplifier head market.
NAMM: Orange Tiny Terror 10th Anniversary Edition
The original lunchbox amp gets a 10 year anniversary model.
Ten years on from its introduction, the Orange Tiny Terror remains one of the most popular small guitar heads around, and is widely regarded as kickstarting the lunchbox amp revolution. To commemorate ten years of Tiny goodness, the Orange Custom Shop has produced 110 limited edition Tiny Terror compact half-stacks.
Codenamed ‘Shiny Terror’, the 10th Anniversary model is a point-to-point hand-wired version of the original, housed in a stunning mirror-effect, polished stainless steel chassis. Each amp head also comes complete with its own open-back speaker cabinet. Finished in British racing green and fitted with a brace of 10” Celestion G10 Gold alnico speakers, the pair dovetail seamlessly to produce the ultimate Terror tone.
Orange's designer, Ade Emsley talks about the 10th Anniversary Edition…
"I like to keep things simple. The Tiny Terror is probably the amp I’m most proud of. The idea was to make a small amp that didn’t sound like a small amp – all valve, tight, punchy, springy – that didn’t have that ‘5 Watt single-ended amp sound’, which definitely sounds like a small amp! The Tiny Terror meant you could take a proper amp in a gigbag on the train or the bus to the show, borrow a 4×12″ cab from another band on the bill and blow everyone away.
I love output valve distortion and, for me, EL84s have the most musical saturation. 15 Watts cranked is the perfect volume to achieve it. The circuit I came up with for the Tiny Terror was designed with that in mind. It’s a unique channel with only three controls – gain, volume and tone – but it gives you everything from clean to pretty ridiculous. The first gang of the gain pot increases the gain of the first stage and the second gang of the pot increases the impedance of the second stage. This results in the signal pushing into the output valves evenly all the way up. It’s a real musician’s amplifier, so when you play softly you get glistening cleans, and when you dig in it crunches up into rich overdrive – all with the touch of your hands.
The 10th Anniversary model is a hand wired version of the standard Terror. The more traditional components add a certain character to the sound. Carbon comp. resistors pass a signal in a certain way and, with a proper hard-wired amp, you’re effectively soldering solid core legs of components together, so the top end is even sweeter and more defined. The construction of this 10th Anniversary edition is actually slightly different from my hard-wired prototypes. The first Tiny Terror I made was on a tag board, whereas the 10th Anniversary model is totally true point-to-point on a strip. It’s much more fiddly and involved this way but you end up with something that looks as smart as it sounds."
Orange Tiny Terror 10th Anniversary Features:
• Point-to-point handwired head utilises the finest components and heavy gauge copper wire.
• Striking polished steel chassis with ‘Pic’s Only’ styling.
• Bespoke cabinet with 18mm birch plywood shell housing a pair of Celestion G10 Gold drivers.
• Limited to 110 pieces, with each including a certificate of authenticity, signed by Orange founder and CEO Cliff Cooper.
Check out Orange's Tiny Terror documentary here:
NAMM 2016: Orange 4 Stroke bass amplifier
Orange's latest bass offering included a four band parametric EQ.
Orange have announced a brand new bass head for 2016, the 4 Stroke.
Full of features aimed at professional bassists, the 4 Stroke offers all analogue design, extensive 4 band parametric EQ section and footswitchable class A compression. Available in 300 or 500W in a 2U rack mountable chassis.
Orange 4 Stroke Features:
• Class AB solid state amplifier.
• Active four band parametric EQ
• Footswitchable Class A compression
• Balanced and line outputs
• 2x parallel Speakon outputs
NAMM 2016: Orange Two Stroke EQ and Amp Detonator ABY
Two new utility pedals for 2016
Orange have announced two new pedals for 2016, the Two Stroke Boost EQ and the Amp Detonator ABY switch.
Two Stroke Boost EQ
The Two Stroke is Orange's take on the essential clean boost pedal, but with the added versatility of an active 2 band parametric EQ section. 12dB of clean boost, plus and additional 18dB of EQ cut/boost per EQ band. Thanks to the pedal’s charge pump circuit (which doubles the internal voltage and massively increases the headroom), the Two Stroke works placed before or after other pedals, or even in an effects loop.
Check out Orange's video demo here:
The Amp Detonator
The Amp Detonator is the smallest active, fully functional ABY switcher on the market. Featuring two buffered outputs, one with a custom isolating transformer and phase correction switch, the Amp Detonator allows the player to switch between two amps, or use them both at the same time. A tri-colour LED indicates the current switching setting at a glance.
Check out Orange's demo of the Amp Detonator here:
NAMM 2016: Peavey MiniMEGA bass head
It's mini, it's MEGA.
After the success of their mini Electric heads (which received some of the highest praise possible in the Guitar Nerds GOTY rundown!) last year, it was inevitable that Peavey would look to transfer that sweet combination of heritage and modern functionality into their much-adored bass line.
The MiniMEGA boasts everything that you’d expect from a bass head in 2016. Four-band EQ, various voicing controls, speakon connections, effects loop, tuner out, DI out (switchable pre/post), MIDI in, dialable compression and of course a carry case. They really seem to have hit the nail on the head with the spec here. At just over 4kg, pretty much anyone can slam out 1000watts (at 4ohms) at any venue, or keep that boomy Peavey tone in the bedroom with the master volume control.
Let’s also not gloss over the best feature of this amp though. A USER DEFINABLE SURFACE COLOUR CONTROL. Top work, Peavey.
NAMM 2016: Boss BC-1X Bass Comp
This multi-band compressor utilises the impressive MDP technology.
Boss have announced a brand new bass pedal for 2016, the BC-1X Bass Comp.
With a transparent and powerful sound, and easy to use operation, provides studio-level multi-band compression specifically optimized for the needs of performing and recording bassists. Boss' advanced technology allows the player to dial in a wide range of compression without altering their fundamental bass tone.
Boss BC-1X Bass Comp Features:
• Ratio, Threshold, Release, and Level controls found in studio compressors.
• A 16-segment gain reduction meter clearly displays the amount of compression at all times.
• MDP engine analyzes the signal and applies the appropriate amount of multi-band compression based on frequency range and playing dynamics.
• Pro-level performance, with ample headroom for hot signals from active basses.
NAMM 2016: Boss ES-5 Effect Switching System
The ES-8 was our Gear Of The Year. This might be even more useful!
Following the success of last year's ES-8 switching system, Boss have announced a new smaller switcher, the ES-5.
Offering the essential features of the ES-8 in a smaller size, the ES-5 is designed for travel-sized pedalboards. With five loops, extensive real-time control capabilities, MIDI and more, the ES-5 allows all guitarists and bassists to explore the benefits of BOSS’s powerful switching technology.
ES-5 Features:
• On/off state and loop order can be stored in 200 patch memories for instant recall.
• Input and output buffers can be switched on/off as needed per patch.
• External control outputs are available for switching amp channels, sending tap tempo information, and more, while an expression pedal or two footswitches can be connected for further real-time control.
•MIDI capabilities for integrating with MIDI-controlled stomp effects like the BOSS DD-500 Digital Delay and many others.
NAMM 2016: Roland Blues Cube Hot
The latest Blues Cube is smaller, lighter and more productive.
Roland have announced the Blues Cube Hot, the latest addition to the Blues Cube guitar amplifier series.
With 30 watts of power and a custom 12-inch speaker, this compact combo is designed for home or studio use, but still retains plenty of volume for gigging. Roland’s acclaimed Tube Logic design provides authentic tube tone by carefully reproducing the inner workings of the revered tweed-era tube amp in every way, including preamp and output tube distortion characteristics, power supply compression, speaker interaction, and much more. By utilising this technology, the Blues Cube Hot offers lighter weight and vastly improved reliability.
Roland Blues Cube Hot Features:
• Custom 12-inch speaker with a rich, full voice that’s enhanced by a classic open-back cabinet design and poplar construction.
• Single-channel configuration offers easy and intuitive operation, with a wide range of sounds accessible from a single knob.
• Boost and Tone switches provide further tone-shaping options. Additional controls include a three-band EQ, master volume, and onboard reverb.
• Variable Power Control provides settings of 0.5 W, 5 W, 15 W, and Max, allowing users to enjoy this musical, cranked-up tone while matching the volume to any situation.
• Footswitch jacks for remote control of the Boost and Tone functions.
• USB connectivity for capturing record-ready tones directly into computer recording applications.
NAMM 2016: Boss Waza Craft VB-2W Vibrato
The classic Boss vibrato pedal returns!
The VB-2W is the latest addition to the highly regarded Boss Wasa Craft series. Following suit with the rest of the Wasa Craft pedals, the VB-2W is an adapted incarnation of the original Boss VN-2 which circulated between 1982 and 1986 and is now a rare and highly sort after pedal.
Pedalsandeffects.com owner; Juan Alderete went as far as to sight the pedal as one of his all time favourite effects, and despite the original pedal's high resale value, went as far as to buy a 2nd VB-2 should his ever break.
The VB-2W offers players the ability to achieve consistent and controlled vibrato effects without the need to bend a string and in more extreme settings offers otherworldly warble that has been embraced by ambient and prog musicians everywhere.
The VB-2W boasts and enhanced custom mode that offers more extreme settings to suit the needs of a modern player along with a jack input for expressive playing allowing the effect depth to be controlled by an exterior expression pedal.
Strymon unveil Zuma and Ojai power supplies
These two new supplies are the ideal solution for expanding pedalboards.
Strymon Engineering have announced two brand new pedalboard power supplies.
Zuma includes nine high-current, individually isolated, ultra-low-noise outputs—each with its own dedicated regulator and custom transformer. Each output provides a staggering 500mA of current to meet the needs of demanding pedalboards. These pre-regulated outputs, as well as optically isolated feedback, and advanced multistage filtering result in a power supply that allows pedals to achieve their highest possible dynamic range.
The Zuma is also expandable. By utilising the new Ojai power supply and the 24v output the user can add extra outputs to their rig, allowing for bigger pedalboards than ever before.
Ojai delivers clean, rock-steady power in a lightweight and expandable package, giving your pedalboard room to grow. Five high-current, individually isolated, ultra-low-noise outputs—each includes its own dedicated regulator and custom transformer. Each output provides 500mA of current. As with the Zuma, Ojai’s dual-stage topology, pre-regulated outputs, optically isolated feedback, and advanced multistage filtering result in a power supply that allows pedals to achieve their highest possible dynamic range.
Just like the Zuma, the Ojai is expandable. Connect multiple supplies using the 24v output jack to power a huge range of pedals.
The Ojai is expected to land in Spring 2016, with the Zuma due in the Summer.
Eight new pedals from Earthquaker Devices
The Ohio-based company expand their pedal offering.
Earthquaker Devices have announced eight brand new pedals for NAMM 2016. Here's what Earthquaker have to say about each of the new creations:
Night Wire - Dynamic Harmonic Tremolo
The Night Wire is a feature-rich harmonic tremolo. What is harmonic tremolo? In short, the signal is split into high pass and low pass filters, then modulated with an LFO that is split 180 degrees. The Night Wire takes the traditional harmonic tremolo a few steps further by allowing the center point of both filters to be adjusted for different tones. The filter frequency has three modes: Manual, LFO and Attack. In Manual mode, the center point can be set to a fixed position with the frequency control. In LFO mode, the filters are continuously swept and the frequency control adjusts the speed. In Attack mode, the filters are dynamically swept according to pick attack and the frequency control acts as a range control, much like a standard envelope filter. The tremolo section has two modes, Manual and Attack. In Manual mode, the speed of the tremolo is governed by where the rate control is set. In Attack mode the speed is controlled by pick attack and the rate controls the sensitivity; the harder you pick, the faster the rate and vice-versa. The tremolo can be subtle and shimmery or full-on throbbing depending on where the depth control is set. With the depth set to zero, the Night Wire will act like a fixed filter, phase shifter or envelope-controlled filter depending on which mode the filter frequency is in. It also features a cut/boost volume control to get your levels just right.
Spires - Fuzz Doubler
The Spires was born from my need to have my big old Rosac Nu Fuzz and our now discontinued Dream Crusher on my pedalboard without taking up all the space. The green channel features a cranked fuzz inspired by the Rosac Electronic Nu-Fuzz, which, for all the unacquainted fuzz seekers, was released in 1968- decades prior to the dreaded “nü” prefix ever being uttered. The original schematic for Rosac Nu Fuzz is somewhat of a mystery so I used my original to make a “sonic copy” that is pretty much dead on. It is full-on fuzz all the time and uses crude wide range tone control to change the character from big and warm to sizzling and blown out. The original was slightly below unity at max so I gave this one plenty of output volume while retaining the original tone. The Red channel is a silicon version of the now discontinued Dream Crusher. There's no need to mourn the loss anymore. Dreams will still be crushed with walls of classic two transistor fuzz, only this time the crushing will be much more stable and less temperature sensitive. It features a very usable, dynamic Fuzz control and tons of output volume, just like the original.
Spatial Delivery - Envelope Filter with Sample & Hold
The Spatial Delivery is an oddball, a voltage controlled envelope filter that allows you to step outside the universe of funk while reinforcing your secret love affair with auto-wah. It has 3 modes- Up Sweep, Down Sweep and Sample and Hold. With Range, Resonance and Filter controls you can get super emphasized filter sweeps in the Up and Down modes. The Range, in combination with pick attack, controls the sensitivity and reaction time of the envelope and thus the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. Reign in the controls a bit, add your favorite overdrive/fuzz after the Spatial Delivery and you've got a real nice resonant, cut-through-the-mix lead tone. Crank the controls back up and you're a neo-bedroom rock god. In the Sample and Hold mode the filter is controlled by random voltage and the Range controls the speed. Add a sub octave into the mix (before or after) and you've just created a deep fried space droid computer freak-out. The filter can be cross faded between high pass (counter clockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice. We recommend placing the Spatial Delivery first in your signal chain. However, due to its envelope control, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further.
Gray Channel - Dynamic Dirt Doubler
The Gray Channel is a real “twofer” of an overdrive. It is based around a classic hard-clipping gray box overdrive (subtle hint, huh), one of my all-time favorites. Coincidentally, this is the very same pedal that got me started building pedals and launched EQD. It is two channels of a simple hard clipping overdrive that leaves the character of the guitar and amp intact. The Gray Channel retains the classic warm overdrive sound and expands upon it with several clipping options and bigger bass response. Each channel has 3 clipping modes. The Green channel- “Si” (Silicon clipping diodes), “Ge” (Germanium clipping diodes) and “N” (no clipping diodes). The “Si” mode will be bright/loud/fuzzy and has a natural tube type break up. “Ge” mode is a little looser with more lows and warmth and less output. “N” mode acts as a clean boost until you hit roughly 1 o’clock on the gain, at which point it’ll start to saturate the op amp into a biting, loud distortion. Phew! Still with me? Cool, onto the modes of the Red channel. Here, you’ve got “LED” (LED clipping diodes), “FET” (Mosfet clipping diodes) and “N” (again, no clipping diodes). “LED” mode is the loudest, cleanest and most touch sensitive/least compressed. “Mos” mode is the most compressed with a tighter crunch; the biggest hesher of the group. And finally, the “N” mode is the same clean to crazy loud op amp distortion set-up as the Green channel. With a couple of switch clicks you can go from your bypassed tone to warm break up to over-the-top gnarly grind and any/every combination in between. With more and more drive pedals moving onto already crowded pedal boards, having the Gray Channel dual overdrive is like, totally crucial for sonic growth and sustain. Join the fight to stop pedal board overcrowding, because before we can overdrive tomorrow, we must first drive today... or something.
Bows - Germanium Preamp Booster
The Bows is a Germanium preamp designed around a rare NOS OC139 black glass transistor. For being a little one-knobber the Bows wears many hats. Right out of the box it's got several tone shaping abilities spread between two modes: Full and Treble. Full mode is warm with a lot of body and low end. Treble mode is a resonant, treble booster with a “cocked wah” tone that can drive any tube amp into harmonic rich distortion territory. Each mode has a little bit of grit to start with, but as you get passed 12 o'clock on either setting their subtleties are accented. The vowel-like sound out of the Treble side will be more prevalent as you bring the Level up. Doing the same on Full mode will get you a nice, full bodied crunch tone that retains clarity. Place any drive pedal before the Bows and it's another story. Full mode turns a dirt signal into a crumbling wall of sonic chaos, while Treble mode becomes an ultimate lead tone.
Bellows - Fuzzdriver
The Bellows is a back-to-basics, transistor-based dirt device. This two-knob wonder has a whole lot of character for such a simple, unassuming pedal. It straddles the line between amp-like grit and fuzzy saturation to create a remarkably vintage, tweed-type tone. Similar to the volume control of a “non master” amp, the Drive determines how hard the signal hits the input. At lower drive levels it's a little wider and grittier. Resist the usual urge to dime it and keep the Drive low for mellow, amp-like break up. Slowly bring up the Drive and you'll eventually end up in blown out fuzz land, having passed a bunch of useful distorted places in between. It's pretty much every era of rock n' roll in a box. While designed for guitar, Bellows also handles bass extremely well at growling low and scorching high levels. And if you're a guitar player that fancies themselves a bass player- then forget it, this is your favorite dirt pedal.
Acapulco Gold - Poweramp Distortion
The Acapulco Gold was originally intended to be a limited release but, due to demand, we have decided to give it a face lift and add it to our permanent line up!
You know what's awesome? Simplicity. One button, one knob. How loud would you like it? Just move the knob. The Acapulco Gold is an original power-amp distortion circuit that's based on the sound of a cranked Sunn Model T. This is the spirit of rock and roll. Quit turning knobs and play that guitar like you mean it. With a dirt sound this good, any one second spent bending down and fiddling with knobs is one second too much. This is why the Acapulco Gold has one gigantic knob; move the thing and it gets louder or quieter. While playing, don't forget to fiddle with your guitar's volume and tone knobs, these can drastically affect the sound of the Acapulco Gold. The volume knob, especially, cleans the pedal up pretty well; not completely, this ain't your daddy's Fuzz Face. At minimum guitar-volume settings, the Gold imparts a hazy Nashville-sounding spank to your tone. At just-barely-backed-off, the Gold turns into a raunchy overdrive. Of course, when the guitar's knob is fully on, the Gold roars like a Model T on the verge of explosion. It's not-quite-fuzz, but so close.
Avalanche Run - Stereo Delay and Reverb
The Avalanche Run is our first product built on a high powered DSP platform we have been working on for a while now and we couldn't be more excited! While this may make an appearance at NAMM, it is still in the development process. The Avalanche Run was designed to satisfy all the requests we have received for a stereo and/or tap tempo version of our wildly popular Dispatch Master. While it is a delay and reverb just like the Dispatch Master, the style of delay and reverb is quite different. The delay has more of a tape quality with bucket brigade sensibilities and the reverb is adjustable while having more of a deep, plate-like cavernous tone. Here are a few feature teasers to wet your whistle:
• Reverse delay mode
• Swell delay and reverb mode
• Tap Tempo with subdivisons
• Assignable expression control
• Tails/True Bypass modes
• Sound on sound style looping with adjustable length in tails mode
• Auto oscillation by holding down tap switch
We intend to launch this pedal as a Reverb.com exclusive in late March and give a full scale release to the rest of our wonderful dealer network in July of 2016! Stay tuned for more details!