Fiery sounding and flexible, the Pugilist Distortion is ready to add some heavyweight gain to your rig. This original design features dual gain engines—with independent tone controls for each—letting you select multiple variations of distortion, ensuring this pedal will play well with any rig. Series/Blend switch lets you stack channels for thick, cascading distortion, while the Bass Boost switch fattens up your tone. The Blend control mixes the two channels to get the best of both worlds, crafting a sound just for you. Dual gain engines Discrete tone controls per channel LED backlit knobs Fender Amp Jewel LED Magnetically latched hinged 9V battery door Lightweight durable anodized aluminum construction
Comme vous le savez déjà, presque tous les overdrives boutiques sur le marché ressemblent à un Tubescreamer modifié. Ce modèle comporte une approche complètement différente. La "Morning Glory" est une pédale très transparente qui est le résultat de plusieurs années de recherches à peaufiner et à améliorer la conception originale du Marshal Bluesbreaker. Cette pédale possède 5 fois plus d'espace libre (headroom) et 2 fois plus de gain avec un contrôle de tonalité plus utile. Le nouveau bouton "Bright Cut" règle parfaitement les bonnes fréquences d'égalisation qu'on peut s'attendre de cette fonction. Vous remarquerez immédiatement comment le toucher est sensible et le niveau de dynamique que cette pédale possède. Si vous posséder une Stratocaster, cette pédale vous apportera des sons qu'on pouvait penser impossibles à obtenir. Si vous possédez plutôt une Les Paul, préparez-vous à découvrir une nouvelle palette sonore avec laquelle vous ne sere plus cabable de vous départir.
De JHS: The Sweet Tea V3 is our "Everything Medium-to-High gain 2-in-1” and it covers all the bases from light breakup, blues, rock, heavy grind and more. The Sweet Tea V3 is for anyone who wants a versatile overdrive/distortion that covers all the bases you need plus more. You’ll find medium-to-high gain tones and the ability to stack for the perfect way to melt faces. The right side is our brand new Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core tone as the Moonshine Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal. On the left side is our newest version of the Angry Charlie which is the Angry Charlie V3, one of our most popular pedals of the last few years. High gain JCM 800 type “Brown” sound tone that we believe is the most accurate Marshall tone ever put in a stomp box! It has volume, drive, and the full bass, mid, treble tone stack like you’d find on the amp. With the full tone stack and the amazingly accurate amp tones in this circuit you’ll be begging for more! The Sweet Tea V3 features our classic order switching toggle so that you can choose which circuit is first in the chain for the perfect stacking tones you’ve been searching for. With these tones combined or used separately, the Sweet Tea V3 is a gallon-and-a-half of overdrive that goes down easy on a summer night!
The Supro Drive pedal sports a simple control layout with Volume, Gain and Tone knobs as well as a toggle switch to select between the different windings of our custom, multi-tapped output transformer—either for high-headroom BOLD sounds, or more compressed, high-gain RICH tones. Taking the overdrive pedal platform one step further, the Supro Drive offers a TRS port for expression pedal control of the GAIN knob. With the expression pedal in use, the on-board GAIN knob sets the maximum value, while a user-adjustable, internal trimmer sets the minimum gain setting. All Supro pedals are assembled in Port Jefferson, NY, USA, featuring custom-tooled, anodized, brushed-aluminum enclosures, 9V battery or DC powered operation, rear-mounted metal jacks, easy-access side-mounted battery drawer and studio-friendly, noiseless (click-free) true-bypass switching. Emulates a Class-A Supro amp from end to end. Achieves magnetic saturation via output transformer Switchable RICH or BOLD transformer windings selection Expression pedal control for GAIN
The Flatiron Fuzz is a classic op-amp powered fuzz/distortion. With its late ‘70s style circuit and symmetrical hard clipping, it’s EHX’s take on the RAT2™ pedal, only we think it’s better. The Flatiron Fuzz is extremely versatile. At lower drive settings it remains fairly clean and adds a pleasing mild distortion. As the drive is turned up it transports you to a world of arena rock and produces spectacular, thick, meaty tones. - Classic op-amp powered fuzz/distortion - Delivers symmetrical hard clipping - As you turn down your guitar volume, it cleans up, but not all the way - Unique Filter control - Compact, pedalboard friendly design - Features True Bypass for maximum signal path integrity in bypass mode - 9-Volt battery included, also accepts optional EHX 9.6VDC-200mA power supply - Current Draw: 5mA @ 9VDC - Dimensions in inches: 2.75(w) x 4.5(l) x 2(h) - Dimensions in mm: 70(w) x 115(l) x 51(h)
Translucent Drive Manipulator Westwood is a touch sensitive translucent overdrive manipulator as clean and pure as the breeze which blows through a grove of Douglas Fir trees, and as hot as a damn fine cup of coffee. This mild-mannered light- to medium-gain overdrive with active EQ controls will still knock the socks right off your trusty low-wattage combo amp, pushing it into anything from cutting, edge-of-breakup rhythm tones, all the way to articulate, singing lead tones stacked high with pleasing even-order harmonics and sweet, sweet sustain. And if you pair it up with your favorite head and cab, you should probably call the neighbors first, because the Westwood’s Level control has enough output on tap to alert the proper authorities. Even the FBI. Each and every Westwood is a real Blue Rose case, hand built by a team of special agents in the Black Lodge of Akron, Ohio, USA, where the owls are not what they seem, there’s always music in the air, and the birds sing a pretty song.
Pédale d'overdrive 9 modes d'overdrive Tube Screamer 7 circuits TS classiques et 2 Mods populaires Fonctionnement analogique True Bypass Contrôles: Volume, Sustain, Tone Sélecteur rotatif do mode Tube Screamer 9 positions: OD-1, TS-808, TS-9, MSL (série Power ou L), TS-10, Exar OD-1, TS-7, Keeley Mod Plus, JHS Strong Mod Commutateur au pied Bypass LED de statut Boîtier en métal Entrée et sortie sur Jack mono 6,3 mm Aucune possibilité de fonctionnement avec pile Nécessite un bloc d'alimentation 9 V DC (fiche cylindrique 2,1 x 5,5 mm, polarité négative à l'intérieur) optionnel non-fourni Consommation inférieure à 100 mA Dimensions: 121 x 56 x 41 mm Poids: 260 g Fabriquée aux USA
De JHS : In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before. The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease. Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute. JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. It is also the best for bass guitar. 73 Rams Head - “1973-1977 V2” The 73 Rams Head gets its name for the strange little elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.) The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix. The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who). The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails). The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM). The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play. With a pedal so stuffed with tasty tones you will have a hard time needing anything else to curb your appetite. "I want to give a massive thank you to my good friend Jon Cusack and Cusack Music for helping this hefty idea be fully realized. Jon y
Comme son nom l'indique, le Tortion de Electro Harmonix est une pédale de distorsion. Grâce aux réglages étendus et les circuits JFET qui garantissent un son de type lampe, ce stompbox impressionnant permet de créer des effets de distorsion les plus divers, d'un son vintage à un son moderne. Le Tortion dispose de nombreux sons de haute qualité. C'est pourquoi cette pédale est le produit phare de la large gamme de pédales d'overdrive de Electro Harmonix.
Le Nano Bass Big Muff Pi de Electro Harmonix est la version compacte du Bass Big Muff Pi. Les deux pédales produisent exactement le même son de distorsion et sont munies des mêmes réglages. Utilisez cette pédale en format stompbox et votre basse produira un son extrêmement graisseux ou même déchirant! Afin de pouvoir atteindre un tel son, EHX s'est inspiré du Big Muff Pi des années 90 et de la version originale datant du début des années 70. On retrouve le meilleur des deux sur le Bass Big Muff Pi.
De Jhs: Every guitarist loves the sound and feel of a Marshall JTM45 amp head. And with the JHS Pedals Charlie Brown V4 amp-in-a-box, you can put that same thick, chewy, old-school rock tone onto your pedalboard. In fact, we even outfitted the pedal with a Marshall-style 3-band tone stack to achieve a tone that would please Clapton himself. Whether you’re trying to replicate the Woman Tone, the character of Hendrix’s cranked walls of Marshalls, or Gary Moore’s higher-gain sound, they’re all waiting for you in the Charlie Brown V4. Grab one today, and turn your rig into a legendary JTM45. Vintage British crunch for your pedalboard More and more, guitarists like you are leaning on pedals to supply their overdriven tones. They need stompboxes that will completely change the character of their amplifiers on a dime. For vintage crunch and British attitude, there simply isn’t a better pedal than our Charlie Brown V4. Turns any amp into a gritty JTM45 stack Go from ‘60s-style crunch to thick and liquid rock tones with a twist of the Drive knob Drive and Volume control interact the same as a master volume amp head Back off your guitar’s volume to control your gain levels without losing clarity Marshall-style tone stack To really nail the ultimate JTM45 tone, we added Marshall-style control to the Charlie Brown V4 overdrive. Now, not only will this pedal mate perfectly with your current clean amp tone, but you’ll be able to find the exact JTM45 sound you need for your application. And because the Charlie Brown reacts just like a classic tube amp, it’s even a perfect candidate for stacking with another overdrive. Fine-tune your tone with controls for Bass, Middle, and Treble Active controls boost and cut their selected frequencies Stacks beautifully with overdrive pedals for even more shades of grit
De Jhs: When we released the Superbolt in 2012, we never dreamed that it would become one of the most recognized and distinguished pedals in our history. Turns out there are guitarists all over the world that are loving the ‘60s-era Supro amp-in-a-box tones that this pedal churns out. In designing the pedal, we paid very close attention to the feel and sound that made the original amps the go-to combos for players like Jimmy Page, Brian Setzer, and Switchfoot’s Drew Shirley. And with the SuperBolt Version 2, we’ve upped the ante by giving you access to our versatile Gain boost circuit via the front-mounted toggle or our own JHS Red Remote footswitch (sold separately). Vintage amp tones with a tap of your toe If you want to know what our SuperBolt V2 is capable of, just listen to the opening chord stabs of Led Zeppelin’s debut album. A more iconic rock tone there isn’t. And though the cranked ‘60s Supro amp tones Jimmy Page deployed will go down as legend, those sounds are only the beginning of what the SuperBolt V2 is capable of. Tones based on the clear and gritty tones of ‘60s Supro tube amps Drive knob acts in a similar fashion to the volume controls on the old amplifiers. Tube rectifier-like sag is increased as the Drive control is turned up We made sure the tone control is usable throughout the whole range More versatile than meets the eye Yes, when you step on the SuperBolt V2, your tone will be transformed into the glorious tones of classic rock’s heyday. But there’s much more under the hood than Jimmy’s Tele-driven rock. Back off on the Drive and Tone controls, and you’ll immediately find yourself digging into your best smokey Chicago blues licks. Or keep that drive low but crank the Volume, and you’re able to boost any amp into harmonically rich submission. Tone control takes you from warm and mellow to cutting and aggressive, without ever losing its musicality Internally converts 9V to 18V for a huge amount of headroom and punchy output Gain knob sweeps between darn-near-clean and amp in full-meltdown mode Two footswitchable gain levels By pairing your SuperBolt V2 with the JHS Red Remote (sold separately), you’re able to access the front toggle’s gritty higher-gain settings on the fly. It’s like having two SuperBolts in one pedalboard-friendly package. Switch to a more powerful sound with enhanced low end and grit Plug in your JHS Red Remote for switching between the two voices with the tap of your toe Handy LED changes from blue to red, indicating the status of the boost circuit ***The JHS SuperBolt pedal is in no way affiliated with Supro USA company
De Jhs: This is our "Everything low-to-medium gain" pedal and it just got better! The Double Barrel V4 is for the player who needs a versatile but transparent overdrive at medium and light gain levels. You won’t find face melting distortion here, but you will find overdrive with the character and stacking abilities to cover almost any tonal need. The right side is our brand new Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core tone as the Version 1 but we have added a new Clean knob to blend in the perfect amount of clean signal with your overdrive signal. The left side of the Double Barrel is our best-selling Morning Glory V4 overdrive. Transparent and open tones are what lurk inside this circuit as well as the new hi-gain toggle with Red Remote capability. Just plug in the JHS Pedals Red Remote into the Remote Gain jack with a standard patch cable and you can switch the Gain toggle on the fly for even more tonal options. You now have five on-the-fly overdrive options to choose from in the Double Barrel V4! When these two circuits are stacked, something magic happens. Tones that are original and fresh come with ease, as well as added exibility, due to the order switching toggle that lets you decide what pedal comes rst in the signal chain. We are convinced that this is one of the greatest 2-in-1 pedals ever made... seriously. If you're having problems getting the tones you want, just grab the Double Barrel V4 and you’ll find out how easy it is to hit the target!
Un overdrive super polyvalent prêt pour votre guitare, basse ou touches! Une version nanométrique de l’Operation Overlord avec les mêmes tonalités d’overdrive et de distorsion, mais en mono pour ceux qui n’ont pas besoin d’entrées / sorties stéréo. Il est super polyvalent et prêt pour votre hache, que ce soit la guitare, la basse ou les touches. L’EHX Nano Overlord est commutable entre deux modes : Normal et Boost. Le mode normal fournit des sons à gain faible à moyen et repose sur trois étages de gain JFET de type ampli. Lorsque le mode Boost est activé, c’est comme ajouter un circuit OD de type pédale devant les étages JFET pour vraiment augmenter la distorsion globale. La pédale dispose également d’un contrôle de mélange sec qui est inestimable pour les basses et les claviers, d’un sélecteur de niveau d’entrée à 3 positions et d’un égaliseur actif à 3 bandes.
DISTORSION AVEC NOISE GATE Conçu pour le joueur qui n’exige rien de moins qu’une distorsion percutante et un son intense et agressif! L’EHX Nano Metal Muff a été conçu pour le joueur qui n’exige rien de moins qu’une distorsion percutante et un son intense et agressif. Il s’agit d’une combinaison de distorsion militarisée et d’une section d’égalisation extrêmement puissante qui offre toute la flexibilité et la mise en forme de la tonalité nécessaires pour composer un éventail de sons ultra-lourds.
Caractéristiques du MXR-264
- circuit 100% analogique pour la tonalité du tube sans les tubes
- Des commandes simples permettent de composer la tonalité que vous souhaitez sans effort
- Châssis robuste entièrement métallique pour des années de résidence sur pédalier
- Alimenté par une batterie de 9 volts ou une alimentation en option (non incluse)
- La conception hybride avancée avec des circuits analogiques et numériques offre une vaste gamme de tonalités d'entraînement, du classique au moderne
- Douze modes d'entraînement principaux plus 15 types d'amplification avec commandes de gain indépendantes pré / post-gain Série sélectionnable ou structures d'amplification parallèles pour une mise en forme de gain illimitée
- Section de porte avancée pour éliminer le bruit et resserrer les tonalités à gain élevé
- Qualité sonore de premier ordre avec AD / DA 32 bits, traitement en virgule flottante 32 bits et fréquence d'échantillonnage de 96 kHz
- Accédez à 128 configurations utilisateur à partir du panneau ou d'un changement de programme MIDI
- Rappel des mémoires consécutives et réglage du panneau en temps réel via une pédale ou un bouton de panneau dédié
- La fonction de verrouillage du panneau désactive les commandes pour empêcher les modifications indésirables
- Commutateurs au pied multifonctions personnalisables pour le bypass, le boost, la sélection de la mémoire, etc.
- Prise en charge d'un contrôle étendu via des commutateurs au pied externes, une pédale d'expression ou MIDI
- E / S MIDI complètes fournies avec des prises mini TRS (câble adaptateur BMIDI-5-35 disponible séparément)
- Prise micro USB pour les mises à jour du micrologiciel
- Fonctionne avec un adaptateur secteur de la série PSA ou trois piles AA
De JHS: Long ago in a mysterious time that we call the 1990's, a new pedal company was created in England. Its ideas were off the beaten path, and its sounds were otherworldly. Despite existing only a few short years, these creations became the things of legend and one product in particular cast the biggest shadow. With such artists as The Edge (U2), Jimmy Page, Radiohead, Kevin Sheilds (My Bloody Valentine), Jeff Tweedy (Wilco), Gary Moore, and many others using the out-of-production units, their Used market prices have begun to rise more and more, sometimes into the $800 range. The Cheese Ball is our faithful and extremely accurate recreation of the original circuit, it is a tribute to one of the most fascinating brands and circuits of all time! The Cheese Ball has your standard Volume, Gain, and Tone knobs found on most distortion fuzz boxes, but comes with an extra mode selector knob that gives you four different overall tone and gain selections. In the “off” position, the Tone knob is disengaged, giving you a bright and trashy fuzz/distortion sound. In the “1” position you have a mid-scooped sound that will give you a Big Muff style buzz for a rounded sound reminiscent of fine mozzarella that sits just right on your pizza but doesn’t get in the way. The “2” position is a mid-boost sound that will cut through a mix like a hot knife through Velveeta. Finally, the “3” position gives you a biting, gated fuzz tone that, when cranked, spits, spats, and bites like gorgonzola naturale. The JHS Cheese Ball is our homage to one of the most excellent fuzz/distortion pedals ever created. Rediscover the finest aged cheese in the pedal world.
Caractéristiques Une pédale Waza Craft premium à circuit audio 100 % analogique Un circuit de gain à double étage innovant conçu à partir de composants analogiques Le mode Standard rajeunit le fameux son MT-2 Metal Zone avec plus de clarté et moins de bruit Le mode Custom propose des sons à large bande de fréquences : plus larges, plus dynamiques, avec des graves bien définis Une puissante EQ trois bandes permet une personnalisation profonde du son à l’aide des réglages High, Low, un variateur de médiums et un Boost/Cut jusqu’à 15 dB sur chaque bande Un Buffer premium pour obtenir un son clair et propre lorsque la pédale est éteinte Fabriqué au Japon
“Architecturally” create your own rig in seconds. You can easily achieve the most sought-after tube amp sounds, and entirely new ones as well. Choose amplifier type, modification and speaker cabinet/mic placement configurations. You can easily mix and match specific sound characteristics in ways that would otherwise be physically improbable, probably impractical and definitely not cost effective. The GT2 is a truckload of great amps in a single, simple pedal.
For the pro on the go, the VT Bass DI covers a lot of ground in a small footprint. This multi-function, multi-application format features three different outputs. You can complement your current rig, record direct, drive power amps and go direct to the PA. Just throw it in your gig bag and you’re ready at a moment’s notice. DRIVE adjusts the overall amount of gain and overdrive, similar to when the output section of a tube amp is being pushed. CHARACTER sweeps through an entire range of tonal possibilities associated with Ampeg®-style amplifiers. In addition to modifying the frequency response, the Character control also influences the attack and drive characteristics.Therefore, you may need to adjust your gain and tone settings after tweaking the Character control. Settings below 12 o’clock will give you the ‘70s powerhouse,the SVT. Around 12 o’clock will introduce you to the studio staple, the flip top. Above 12 o’clock increases the gain and crunch for less polite, modern rock, indie bass sounds. Full up gives you distorted bass tones from Yes to Crimson to King’s X styles. MID, LOW, HIGH. Unlike passive controls that only cut, these active tone controls cut or boost ±12dB from unity gain (12 o’clock). Mid is 500 Hz. Low is 125 Hz. High is 3.2kHz. BLEND allows you to blend the direct instrument signal with SansAmp Tube Amplifier Emulation circuitry. In most cases, you will probably have this set at maximum (100% SansAmp). For certain applications, however, such as an ultra-transparent sound or for use with piezo pickup-equipped instruments, you may want to blend-in the direct signal to achieve your desired sound. Note: When Blend is at minimum,the SansAmpTubeAmplifier Emulation circuitry is bypassed. However,the Mid, Low, High and Level controls remain active. LEVEL adjusts the output level of both the 1/4” and XLR outputs.