There’s a lot of hype out there these days with overdrive pedals and the last thing we want to do is to add to the noise. As you may already know, almost every boutique overdrive on the market is a modified Tubescreamer of some sort, we have decided to take a different approach. The Morning Glory is a very transparent tone-shaping tool that is the result of several years of building, gigging, tweaking and improving on the original Marshal Bluesbreaker design. We improved vastly on the BB while maintaining what made it a great pedal in the first place. It now has 5X more headroom! 2X the available gain and a more useful tone control. The new “Bright Cut” toggle allows the perfect level of EQ for your rig. You will notice immediately how touch sensitive and dynamic the feel of this pedal is. The frequencies are perfectly balanced and the tone knob reacts as a high frequency roll off. The drive allows you a huge range of tones from “little wing-ish” chime to classic rock era bite. If you’re a Strat player, this pedal will bring you sounds that you may have thought impossible and if you like the Les Paul, get ready to discover a new pallet of sounds that you want be able to live without. With enough clean headroom to be used as a boost as well as a hefty amount of drive, this may be your go-to pedal, for good.
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
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.
In the late 1970's the overdrive pedal was arguably perfected when Japanese engineers designed the sound that we now know as the heart and soul of so many of our favorite artists, recordings and sounds. Players ranging from The Edge, Trey Anastasio, Buddy Guy, Kirk Hammett, John Mayer, SRV, Carlos Santana and thousands more from every possible genre have utilized and depended on this classic iconic green box. If a single effect pedal was chosen to board a Voyager 3 mission and be solely responsible for showing the universe the sound of overdrive, it would undoubtably be Tube Screamer. It is probably the most produced and sold pedal in the history of guitar pedals! The Bonsai is our tribute to one of the greatest pedals ever created. Following in the steps of our Muffuletta (released 2015), the Bonsai utilizes a simple rotary knob to switch through nine classic, vintage, rare, or hard to find variations of the Screamer. Creating the Bonsai became an archeological dig of sorts that sent us deep into the history of this circuit by examining dozens of versions, variations and replications. At the end of it all, Josh chose nine of his personal and favorite units and we painstakingly replicated every nuance and aspect of each pedal. One of the most challenging parts of this project was accounting for component drift as many of these pedals were decades old and the internal components had strayed from their original values. Each pedal was individually replicated using our Audio Precision analyzer and various other methods that allowed us to perfectly replicate every aspect of the sound and feel of the unit. It's important to know that the Bonsai is not a "box of mods," it is exact replications of these nine units all housed in one box! The Bonsai is exact replication, not emulation. When you choose a mode on the Bonsai rotary, you are actually activating components specific to each mode and playing the unit that Josh chose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has.
From 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 re
Our flagship overdrive/distortion covers vast tonal real estate and redefines versatility. Like a database of great tone, the EHX TORTION’s full complement of features and controls make dialing in inspired guitar sound intuitive. Whatever the era, from vintage to modern, your search for the ultimate tone has ended.
The new Nano Bass Big Muff is the latest EHX bass guitar, effect pedal. It delivers that huge Bass Big Muff sound in a nano-sized package. With voicing inspired by the battle-tank green, Russian Big Muff and a classic Big Muff Pi layout of Sustain, Tone and Volume controls, it provides sounds ranging from a slight but satisfying grit to an over-the-top wall of bass fuzz.
From 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
From 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!
From 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!
- Advanced hybrid design with analog and digital circuitry provides a huge range of drive tones from classic to modern
- Twelve primary drive modes plus 15 boost types with independent pre/post gain controls Selectable series or parallel boost structures for unlimited gain shaping
- Advanced gate section for eliminating noise and tightening high-gain tones
- Class-leading sound quality with 32-bit AD/DA, 32-bit floating point processing, and 96 kHz sampling rate
- Access 128 user setups from the panel or MIDI program change
- Recall consecutive memories plus real-time panel setting via footswitch or dedicated panel button
- Panel Lock function disables controls to prevent unwanted changes
- Customizable multi-function footswitches for bypass, boost, memory selection, and more
- Support for expanded control via external footswitches, an expression pedal, or MIDI
- Full MIDI I/O provided with mini TRS jacks (BMIDI-5-35 adaptor cable available separately)
- Micro USB jack for firmware updates
- Runs on PSA-series AC adaptor or three AA-size batteries
From 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.
Features Premium Waza Craft pedal with all-analog audio circuitry Innovative dual-stage gain circuit built with discrete analog components Standard mode updates the famous MT-2 Metal Zone sound with improved clarity and lower noise Custom mode delivers full-throttle gain tones with wider range, increased dynamics, and tighter low end Powerful three-band EQ provides intense sound customization with High, Low, and sweepable Midrange and up to 15 dB boost/cut on each band Premium buffer for clean and clear tone when bypassed Made in Japan
“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.
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
We helped generate the classic guitar tones that inspired players to create new music, and now with the Santa Ana Overdrive, we’ve brought our expertise to stompboxes. Armed with FET technology, this pedal lets you dial in sounds varying from “just a little hairy” all the way to thick, fully saturated overdrive. The flexible tone controls unlock a wide range of sonic flavors. This pedal cleans up with the guitar’s volume control, just like our famous amplifiers. FET technology for tube-like performance ‘A’ and ‘B’ overdrive voicings LED backlit knobs Fender Amp Jewel LED Magnetically latched hinged 9V battery door Lightweight durable anodized aluminum construction The Santa Ana Overdrive requires a 9V DC (center negative polarity) power supply with at least 150mA of available current.
Millenium Overdrive Represent the new millenia with this brand new take on our coveted Barbershop. Have you ever sat in a barber's chair wishing your tone was as slick as your freshly shaved upper lip? With the Barbershop Overdrive on your pedalboard, you could keep your moustache and sound good doing it. Less is more with this simple, original design. Handmade from JFETs matched to specs, this versatile pedal will treat your pickups with the respect they deserve. In return, they’ll thank you with some of them sweet tones.
Power Amp Distortion Welcome to your new Acapulco Gold™ Power Amp Distortion! The Acapulco Gold is a dirt-simple distortion Device modeled after the sound of a cranked vintage Model T amplifier, bringing the openness, clarity, and crunch that only a dimed tube amp can provide, at a fraction of the size, and without expensive maintenance costs! Since tone is in the hands, we decided to keep the controls of the Acapulco Gold as simple as possible. The footswitch turns the pedal on and off, and the giant knob controls the output volume. That’s it. The rest is at your fingertips. Want less gain? Turn down your guitar’s volume knob. Need a darker rhythm tone? Roll back your guitar’s tone control. Easy, right? With your guitar’s volume all the way up, the Acapulco Gold roars like a wide-open Model T on the verge of explosion. At just-barely-backed-off, the Gold becomes a raunchy overdrive. At minimum guitar volume settings, the Acapulco Gold delivers a hazy, Nashville-sounding spank to your tone. How about this? If your guitar has separate volume and tone controls for each pickup and a three-way selector switch, this little one-knob banger becomes a three-channel tone monster at the flick of your wrist! Each Acapulco Gold is made part-by-part, wire-by-wire, giant knob-by-giant knob with real, live humanimal hands in our gilded manufactory located in gray olde Akron, Ohio USA. Controls Big Knob: The big knob sets the output level, sometimes known as Volume. PLEASE BE CAREFUL! The Acapulco Gold is extremely loud! Measures 4.75″ x 2.50″ x. 2.25″ with knob Switching This device is true bypass and uses electronic relay-based switching. Audio will not pass without power. Power This device can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES! Current Draw: 18mA Input Impedance: 50K Ohm Output Impedance:
EHX is commemorating their 50th Anniversary with the re-release of Triangle Big Buff V1, the very first Big Muff. The new Triangle Big Muff is a faithful re-creation of the original circa 1969 circuit now housed in a pedalboard friendly, die-cast chassis. With a nod to modern convenience, the Triangle Big Muff features an LED to indicate effect status, true bypass switching, and the option of being powered by a 9-volt AC adapter. Quick Specs The authentic V1 Triangle Big Muff reissued in a nano-sized chassis Effect status LED True bypass Vintage look and graphics Comes with a 9V battery, also accepts an optional EHX 9.6DC200mA PSU
Based on a rare and elusive circuit, the MXR Sugar Drive provides a diverse range of clear and transparent overdrive tones, from sauced up boosting to blown-tube distortion. THE LONG STORY. The MXR Sugar Drive provides a diverse range of clear and transparent overdrive tones, from sauced up boosting to blown-tube distortion. It’s based on a rare overdrive pedal that has acquired a mythical reputation among fanatical tone-seekers thanks to its unique circuit design. The key elements of that circuit design are the Drive control and something called a voltage doubler. First, the Drive control on this pedal doesn’t just increase the intensity of the overdrive pedal. It starts with your clean signal and then blends it with the overdrive effect as you turn it up, replicating the smooth transition of an amplifier going from clean to dirty. The voltage doubler increases overall headroom, which opens everything up nicely. Of course, we had to put the MXR touch on this circuit. If you’re all about true bypass, then you’re in luck—this pedal uses it by default. The original used buffered bypass, though, and we know there’s a lot of players out there who don’t want to fix something that isn’t broken. They’re in luck, too—just flick the Buffer switch on the side of the pedal to enable buffered bypassing. With a simple three-knob setup and an MXR mini housing, this is the go-to overdrive to have on your pedalboard. It’s versatile and it saves space, and unlike the original pedals it’s based on, it won’t cost you thousands of dollars.
Overdrive Pedal Aces the bluesy tone of one of the greatest players ever to walk the earth. Fattens up signal without loss of clarity or voice. Adds push and fatness to single coil or humbuckers. Plenty of boost for crunch rhythm or solos. If you can take only one pedal into the studio to record your dream tune, make sure it is this one.
So, what IS the story on Wave Cannon® version 2.0, or as we’ve decided to call it, the Wave Cannon MKII Superdistorter? The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units. It’s different than the original, which was based on the classic ’70s fuzzstortions we grew up playing. It’s different from our Haymaker™, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off. While it can do some extremely cool mild-to-medium crunch tones, Wave Cannon II is really capable of overwhelming your amp. The focus (mids) and tone controls are different from what we’ve done before and can give you a really broad range of textures and voicings. There is a LOT of gain and volume on tap, as we’d been infuriated in the past by great sounding classic distortion pedals we’ve owned that didn’t go far enough with clean amps, or were quieter than unity gain or the bypass signal. The rumble switch allows more low end if you want it, or lets you tighten things up if you don’t need it.
When the opportunity to work with StuG came about (legendary guitarist, writer, producer, and founding member of UK band Delirious) we couldn’t pass it up. Right out of the gate Stu G wanted a dirt box that could essentially cover any-and-all ground he needed for his studio work and extensive touring gigs. From that request the Kilt was born, and for the V2 we have refined it to be a compact and versatile tone-machine. The Kilt V2 still has the fantastic circuit at the heart of the version one: a heavily tweaked Expandora style dirt box that gives you more tonal options than you might ever be able to use. We use a specifically chosen op-amplifier that offers super low noise, improved slew rate for a smoother structure, and a character that just feels better than the original Expandora. Then there are three toggles that enhance the tweak-ability even further. The cut/flat toggle gives you the option to cut the low end frequencies to better sit in the mix. When in the “flat” position, the bass response is much beefier than the original Expandora for those heavy guitar riffs or bass grit. The G1 and G2 toggles let you select various forms of distortion via select resistance values that switch in and out in the clipping section of the circuit. This method is very different than your normal diode clipping selectors that you commonly see on drive pedals. This gives you multiple configurations and tonal options, helping the Kilt V2 cover light transparent drive all the way to a wall of fat fuzz/distortion and everything found in-between. When both toggles are down, you are in the lightest gain setting. Amp-like chimey breakup. G1 flipped up adds a touch of drive for more riffy grit. G2 flipped up puts you almost into distortion land, with more saturation and sustain for lead tones. Both toggles flipped up sends the Kilt V2 into almost uncontrollable gated fuzz/distortion that will cut through anything. For the V2 we have added the ability to switch the G2 toggle with a Red Remote! This gives you the ability to flip into heavy overdrive or fuzz with a footswitch on the fly, making the V2 just as versatile as the V1 but more compact. So put on your Kilt and raise a pint to rock and roll!