Death By Audio Robot is an 8-bit, lo-fi pitch transposer / fuzz generator that has all the warm, sweet tone that you'd expect from a cold, soulless machine with a heart of microchips. The Death by Audio Robot is not for the faint of ears.
The Electro Harmonix Frequency Analyzer Ring Modulator combines classic moving, tunable 3-part harmonies and variable filtering effects ia a new die cast pedal. For crazy times and weirdness check out the new Electro Harmonix Frequency Analyzer.
The Electro Harmonix HOG Guitar Synthesizer
gives you 10 pitch intervals that can be mixed and played back. The tracking is perfect and the tones awsome...all this without any external pickups attached! Check out the Electro Harmonix HOG Guitar Synth.
The Electro Harmonix Micro Synthesizer
Pedal gives you the power to produce vintage synth tones without the hassle of adding a strange pickup to your axe. If it's synth you crave, check out the Electro Harmonix Micro Synthesizer Pedal.
The Fairfield Circuitry Randy’s Revenge is a top notch ring modulator and so much more. Capable of tremolo effects, ring mod, and signal doubling, the Fairfield Circuitry Randy’s Revenge is the next wave in guitar effect pedals.
The Pigtronix Mothership Analog Synthesizer is the ultimate monophonic synthesizer for any instrument. Super fast accurate tracking, VCO, sub octave, and even an analog Whammy make the Pigtronix Mothership Analog Synthesizer the next pedal on your board.
The WMD Geiger Counter is here and your dreams of creating signal destroying, otherworldly distortion effects are now realized. If you love pedals that go where no pedal has gone before, try the WMD Geiger Counter.
The WMD Geiger Counter Civilian Issue is the simplified version of the Geiger Counter. With 32 sounds from the original available, the WMD Geiger Counter Civilian Issue is perfect for the gigging musician who needs simple operation and complex tones.
The ZVex Ringtone is the first and only analog sequenced ring mod pedal for guitar. It features True Bypass, 8 individual step controls, a "random" stomp switch, and internal mix control. Total Z.Vex Ring Modulator lunacy!
Showing posts with label GUITARS. Show all posts
Showing posts with label GUITARS. Show all posts
Wednesday, April 7, 2010
MXR
MXR Carbon Copy Analog Delay The MXR Carbon Copy Analog Delay features a completely analog audio path for the ultimate in rich, warm delay—made possible only by old-school bucket brigade technology. This design boasts an amazing 600ms of delay time with optional modulation via a top-mounted switch and a simple, three-knob layout that controls Delay time, Mix (dry/wet blend), and Regen (delay repeats)—all in a pedal no bigger than a Phase 90. In addition, two internal trim pots offer user-adjustable width and rate control of the modulation for even more tonal options. The Carbon Copy will take you from crisp “bathroom” slap echoes to epic, Gilmour-esque delays with a twist of a knob. True hardwire bypass, single 9-volt operation, and stage-ready blue LEDs round out the package.
MXR Custom Audio Electronics MC-402 Boost/Overdrive MXR and Custom Audio Electronics founder Bob Bradshaw—two names that have shaped the tones of the world's greatest guitarists—join forces to bring you a dynamic new line of pedals. The Boost/Overdrive and Boost pedals are the first offerings in the series produced by MXR, featuring the unique sonic stamp of legendary designer Bob Bradshaw. Since 1980, CAE's innovative pedal designs were made in limited quantities only for his select clientele. When it was time to bring these pedals to the masses, there was only one name he could trust to deliver the same quality and standards that his customers demand—MXR. Available only from Dunlop Manufacturing, Inc., the world's leader in analog pedal technology.
MC-402 Boost/Overdrive The MC-402 Boost/Overdrive offers the combination of a simple dynamic overdrive and an independent clean boost circuit—all in one compact pedal. The overdrive section is truly "classic", adding warmth, sustain and punch, without coloring your sound. It can go from a bluesy, slightly overdriven sound to full-metal crunch with a twist of the gain knob. The MC-402 also cleans up nicely when you roll back your guitar volume, making it extremely touch sensitive and responsive to picking dynamics, without becoming thin sounding. The boost circuit alone is a bonus, as it is the exact same circuit CAE has used for years to solve a wide variety of signal conditioning problems in major guitar systems. The MC-402's high quality components provide quiet operation and trouble-free interaction with other pedals on your board. In keeping with the CAE tradition, the design is simple and straightforward, with a minimum of controls—only what is necessary to do the job.
MXR Stereo Chorus This gorgeous sounding pedal will remind you how cool chorus can be. Want to add sparkle to clean-toned arpeggios? Animate strummed passages? Widen and fatten distorted power chords? This box will do it all, cleanly and quietly. Set the Rate and Width controls to your liking and then dial in as much effect as you want with the Intensity knob. You can then shape the tone even further by EQ-ing the modulated frequencies with the Bass and Treble controls. Run in mono or use the stereo outputs for a huge, vibrant sound. If you're looking to preserve the low end of your guitar tone, the MXR Stereo Chorus has got you covered with its Bass Filter button that applies the effect to the high frequencies only. Power: Two 9-volt batteries (some early models may not have this feature), or Dunlop ECB-004 18-volt AC Adapter - Controls: - Footswitch toggles effect on/hardwire bypass (red LED indicates on) -Intensity control adjusts overall effect level - Rate and Width knobs tailor chorus tone, from subtle and sparkly to lush and watery - Bass and Treble knobs EQ the modulated frequencies only - Stereo outputs for a huge tonal spread * Bass Filter button leaves low end intact.
MXR EVH Flanger We've done it again! Dunlop has once again partnered with living legend Edward Van Halen to present a new spin on a classic tone. Everyone knows that it was the MXR Flanger that powered the timeless Van Halen tunes "Unchained" and "And the Cradle Will Rock." Now you can grab a piece of that world-class tone with the new MXR EVH 117 Flanger. This amazing stompbox features the same bucket-brigade technology that provided the sweeping, whooshing magic of the original. But we didn't stop there. We've also added the EVH Switch, which instantly calls up Eddie's "Unchained" sound with the exact same Manual, Speed, Width, and Regeneration settings that he used to get one of the greatest guitar tones of all time. If that's not cool enough, we painted the EVH Flanger with the rocking striped graphics that started a revolution. Get the MXR EVH 117 Flanger and hit the ground running.
* EVH Switch activates preset Manual, Speed, Width, and Regeneration settings for instant "Unchained" tone
* Original bucket brigade design for classic analog flanging
* Indestructible die-cast housing in EVH-approved striped graphics
MXR M-101 Phase 90 This device has found its way into many of Eddie Van Halen's recordings, adding a shimmery velocity to lead passages or a more dramatic swoosh to muted strumming. Not just for guitars; it works well with bass, keyboards and even vocals. Vary the speed from a subtle, long cycle to a fast, watery warble...and myriad vintage vibrations in between.
Controls: Footswitch toggles effect on/bypass (red LED indicates on) Speed knob varies rate of phase sweep
MXR M-103 Blue Box This unassuming little box shovels out enough low frequencies to scare a blue whale. It takes your guitar signal, fuzzes it up, then duplicates it two octaves down. You control the output and the mix between the dry signal and the effect. Using it 100% wet is quite an experience, but more recognizable sounds appear as you dial In more dry signal. The Blue Box is known for having a chaotic personality that can make each session a totally unique experience!
Controls: Footswitch toggles effect on/bypass (red LED indicates on) Output knob sets total output gain Blend knob adjusts ratio of dry (clean) with wet (effects) signal
Dunlop/MXR DCB-10 DC Brick The DC Brick is the most reliable and consistent way to power your effects board. Forget the collection of unsightly wall warts ... the DC Brick will drive ten pedals or stomp boxes from the same source! More than a power supply, this box is a power conditioner as well. Unlike aging batteries, the Brick supplies predictable voltage at all times, keeping your effects consistent from show to show. Its FCLC (Foldback Current Limiting Circuit) provides ultimate protection against power shorts and overloads. Even at full load, you’ll enjoy the quiet and cool operation of a fully regulated power supply. But since battery-powered effects rarely exceed 30 milliamps each, you’re not likely to use anywhere near the Brick‘s capacity of 1000 milliamps output!
Included AC power adapter can utilize a wide range of international wall power from 100 to 240 volts, at 47 to 63 Hz. Supplied with U.S. plug.
* Seven 9V outputs can handle an average of 55 milliamps each, or a total of 375 milliamps in any configuration
* Three 18V outputs can handle an average of 208 milliamps each, or a total of 625 milliamps in any configuration
* All outputs may be used simultaneously for a total power output of up to 1000 milliamp
MXR Custom Audio Electronics MC-402 Boost/Overdrive MXR and Custom Audio Electronics founder Bob Bradshaw—two names that have shaped the tones of the world's greatest guitarists—join forces to bring you a dynamic new line of pedals. The Boost/Overdrive and Boost pedals are the first offerings in the series produced by MXR, featuring the unique sonic stamp of legendary designer Bob Bradshaw. Since 1980, CAE's innovative pedal designs were made in limited quantities only for his select clientele. When it was time to bring these pedals to the masses, there was only one name he could trust to deliver the same quality and standards that his customers demand—MXR. Available only from Dunlop Manufacturing, Inc., the world's leader in analog pedal technology.
MC-402 Boost/Overdrive The MC-402 Boost/Overdrive offers the combination of a simple dynamic overdrive and an independent clean boost circuit—all in one compact pedal. The overdrive section is truly "classic", adding warmth, sustain and punch, without coloring your sound. It can go from a bluesy, slightly overdriven sound to full-metal crunch with a twist of the gain knob. The MC-402 also cleans up nicely when you roll back your guitar volume, making it extremely touch sensitive and responsive to picking dynamics, without becoming thin sounding. The boost circuit alone is a bonus, as it is the exact same circuit CAE has used for years to solve a wide variety of signal conditioning problems in major guitar systems. The MC-402's high quality components provide quiet operation and trouble-free interaction with other pedals on your board. In keeping with the CAE tradition, the design is simple and straightforward, with a minimum of controls—only what is necessary to do the job.
MXR Stereo Chorus This gorgeous sounding pedal will remind you how cool chorus can be. Want to add sparkle to clean-toned arpeggios? Animate strummed passages? Widen and fatten distorted power chords? This box will do it all, cleanly and quietly. Set the Rate and Width controls to your liking and then dial in as much effect as you want with the Intensity knob. You can then shape the tone even further by EQ-ing the modulated frequencies with the Bass and Treble controls. Run in mono or use the stereo outputs for a huge, vibrant sound. If you're looking to preserve the low end of your guitar tone, the MXR Stereo Chorus has got you covered with its Bass Filter button that applies the effect to the high frequencies only. Power: Two 9-volt batteries (some early models may not have this feature), or Dunlop ECB-004 18-volt AC Adapter - Controls: - Footswitch toggles effect on/hardwire bypass (red LED indicates on) -Intensity control adjusts overall effect level - Rate and Width knobs tailor chorus tone, from subtle and sparkly to lush and watery - Bass and Treble knobs EQ the modulated frequencies only - Stereo outputs for a huge tonal spread * Bass Filter button leaves low end intact.
MXR EVH Flanger We've done it again! Dunlop has once again partnered with living legend Edward Van Halen to present a new spin on a classic tone. Everyone knows that it was the MXR Flanger that powered the timeless Van Halen tunes "Unchained" and "And the Cradle Will Rock." Now you can grab a piece of that world-class tone with the new MXR EVH 117 Flanger. This amazing stompbox features the same bucket-brigade technology that provided the sweeping, whooshing magic of the original. But we didn't stop there. We've also added the EVH Switch, which instantly calls up Eddie's "Unchained" sound with the exact same Manual, Speed, Width, and Regeneration settings that he used to get one of the greatest guitar tones of all time. If that's not cool enough, we painted the EVH Flanger with the rocking striped graphics that started a revolution. Get the MXR EVH 117 Flanger and hit the ground running.
* EVH Switch activates preset Manual, Speed, Width, and Regeneration settings for instant "Unchained" tone
* Original bucket brigade design for classic analog flanging
* Indestructible die-cast housing in EVH-approved striped graphics
MXR M-101 Phase 90 This device has found its way into many of Eddie Van Halen's recordings, adding a shimmery velocity to lead passages or a more dramatic swoosh to muted strumming. Not just for guitars; it works well with bass, keyboards and even vocals. Vary the speed from a subtle, long cycle to a fast, watery warble...and myriad vintage vibrations in between.
Controls: Footswitch toggles effect on/bypass (red LED indicates on) Speed knob varies rate of phase sweep
MXR M-103 Blue Box This unassuming little box shovels out enough low frequencies to scare a blue whale. It takes your guitar signal, fuzzes it up, then duplicates it two octaves down. You control the output and the mix between the dry signal and the effect. Using it 100% wet is quite an experience, but more recognizable sounds appear as you dial In more dry signal. The Blue Box is known for having a chaotic personality that can make each session a totally unique experience!
Controls: Footswitch toggles effect on/bypass (red LED indicates on) Output knob sets total output gain Blend knob adjusts ratio of dry (clean) with wet (effects) signal
Dunlop/MXR DCB-10 DC Brick The DC Brick is the most reliable and consistent way to power your effects board. Forget the collection of unsightly wall warts ... the DC Brick will drive ten pedals or stomp boxes from the same source! More than a power supply, this box is a power conditioner as well. Unlike aging batteries, the Brick supplies predictable voltage at all times, keeping your effects consistent from show to show. Its FCLC (Foldback Current Limiting Circuit) provides ultimate protection against power shorts and overloads. Even at full load, you’ll enjoy the quiet and cool operation of a fully regulated power supply. But since battery-powered effects rarely exceed 30 milliamps each, you’re not likely to use anywhere near the Brick‘s capacity of 1000 milliamps output!
Included AC power adapter can utilize a wide range of international wall power from 100 to 240 volts, at 47 to 63 Hz. Supplied with U.S. plug.
* Seven 9V outputs can handle an average of 55 milliamps each, or a total of 375 milliamps in any configuration
* Three 18V outputs can handle an average of 208 milliamps each, or a total of 625 milliamps in any configuration
* All outputs may be used simultaneously for a total power output of up to 1000 milliamp
Pro Tone
Dead Horse Overdrive
Yeah... its based on a TS... but it sounds WAY better!
We took the classic design and went nuts from there. We performed all of the common 'after market modifications' by guys like Keeley or Landgraff and other boutiquers get upwards of $600 for. But as you all know- those price tags are not our style!
Extended low end, and more gain are just the tip of the iceburg... You've got the traditional TS tone, volume, & gain control format with the addition of a switch to change the clipping diodes from symetrical to asymetrical.
Pro Tone Ram Skull Fuzz The Ram Skull is a re-birth of the ridiculously expensive and hard to find Big Muff Pi commonly known as the "Ram's Head". The Ram was favored by David Gilmour from '77-'89. I ask you- when was his tone any better than that time frame?
Pro Tone Body Rot II The Body Rot II started off with the heart of the original Body Rot and an added tone stack... but that wasn't enough. With so many boutique companies jumping on the ultra heavy distortion band wagon, Pro Tone started with the Original Body Rot, we knew we had to create something massive. We knew that the Body Rot II had to be something that would send a jolt to the competition and silence the naysayers.
Gain, Treble, Mids, Bass, and Volume controls
Pro Tone Kompressor The Pro Tone Kompressor is born of legendary design with modern improvements in tone, usability and reliability.
High grade components, and a CA3080 IC chip provide some of the mojo behind this pedal. Coupled a 3PDT true Bypass switching system, you've got a modern classic.
Pro Tone T.V. Delay Pro Tone resisted going digital for some time now. We waited untill we could get analog warmth in the digital realm. We belive that we've accomplished exactly that. The Delay control adjusts the delay time. The Level control offers the user full control of the balance of wet and dry signal. The Repeats control determines the number of repeats. Full counter clock wise allows one repat to come through, while full clockwise allows endless repeats to create lush sonic landscapes. True ByPass stomp switch built to withstand 30,000 stomps.
Pro Tone Thruster A very beefy sounding booster, this single-transistor power booster will give guitarists unprecedented powers of tone and warmth. Able to drive even the cleanest amplifier into clipping. From jazz to country; surf to metal - this is the baddest boost of them all.
Pro Tone Mach II The Mach II consists of 2 Thruster circuits, 2 foot switches, 2 LEDs, and 3 knobs- oh yes folks 3 knobs... all in one little box! You now have total control over the Mach II's gain stages. In addition, you also get a Master control that allows you to use it as an overdrive/distortion unit without changing your signal volume.
Stage 1: This gain stage is a regular Thruster... not that there is anything regular about the Thruster, but you get the idea. Stage 1 has no Master Volume control, it feeds into Channel 2, which makes full use of the Master Volume control.
Stage 2 and the Master: Stage 2 is made up of the exact circuit as stage 1, but is fed from the output of Stage 1, and then goes directly to the Master control. The Master control allows the user to keep the output volume under control when stages 1 and 2 are set high.
Yeah... its based on a TS... but it sounds WAY better!
We took the classic design and went nuts from there. We performed all of the common 'after market modifications' by guys like Keeley or Landgraff and other boutiquers get upwards of $600 for. But as you all know- those price tags are not our style!
Extended low end, and more gain are just the tip of the iceburg... You've got the traditional TS tone, volume, & gain control format with the addition of a switch to change the clipping diodes from symetrical to asymetrical.
Pro Tone Ram Skull Fuzz The Ram Skull is a re-birth of the ridiculously expensive and hard to find Big Muff Pi commonly known as the "Ram's Head". The Ram was favored by David Gilmour from '77-'89. I ask you- when was his tone any better than that time frame?
Pro Tone Body Rot II The Body Rot II started off with the heart of the original Body Rot and an added tone stack... but that wasn't enough. With so many boutique companies jumping on the ultra heavy distortion band wagon, Pro Tone started with the Original Body Rot, we knew we had to create something massive. We knew that the Body Rot II had to be something that would send a jolt to the competition and silence the naysayers.
Gain, Treble, Mids, Bass, and Volume controls
Pro Tone Kompressor The Pro Tone Kompressor is born of legendary design with modern improvements in tone, usability and reliability.
High grade components, and a CA3080 IC chip provide some of the mojo behind this pedal. Coupled a 3PDT true Bypass switching system, you've got a modern classic.
Pro Tone T.V. Delay Pro Tone resisted going digital for some time now. We waited untill we could get analog warmth in the digital realm. We belive that we've accomplished exactly that. The Delay control adjusts the delay time. The Level control offers the user full control of the balance of wet and dry signal. The Repeats control determines the number of repeats. Full counter clock wise allows one repat to come through, while full clockwise allows endless repeats to create lush sonic landscapes. True ByPass stomp switch built to withstand 30,000 stomps.
Pro Tone Thruster A very beefy sounding booster, this single-transistor power booster will give guitarists unprecedented powers of tone and warmth. Able to drive even the cleanest amplifier into clipping. From jazz to country; surf to metal - this is the baddest boost of them all.
Pro Tone Mach II The Mach II consists of 2 Thruster circuits, 2 foot switches, 2 LEDs, and 3 knobs- oh yes folks 3 knobs... all in one little box! You now have total control over the Mach II's gain stages. In addition, you also get a Master control that allows you to use it as an overdrive/distortion unit without changing your signal volume.
Stage 1: This gain stage is a regular Thruster... not that there is anything regular about the Thruster, but you get the idea. Stage 1 has no Master Volume control, it feeds into Channel 2, which makes full use of the Master Volume control.
Stage 2 and the Master: Stage 2 is made up of the exact circuit as stage 1, but is fed from the output of Stage 1, and then goes directly to the Master control. The Master control allows the user to keep the output volume under control when stages 1 and 2 are set high.
Pro Tone Monster Fuzz
Pro Tone Pedals and renowned artist Felix LaFlamme have teamed up once again to bring you the most monstrous effects pedals around. The Monster Fuzz is an unruly fuzz spitting beast capable of the most amplifier abusing fuzz around. But like most monsters this one has a soft side... a sweet underbelly if you please... good luck finding it!
Line 6 PODxt
The incredible sonic flexibility and quality of the original POD® is now super-charged. Get PODXT and you'll have Line 6's newest generation amp and cab models as found in our flagship Vetta amplifier. Combine that with over 60 classic stompbox and effect models, including hand-picked selections from our award-winning stompbox modeler series. Route the effects stompbox-style before the amp, or run 'em after. You want to put your fuzz through a tape delay and run it all in front of a small tweed amp? How about a lumpy vibe in to a high-powered "treadplate" head with a 1x8 speaker cab miked off-axis and dressed up with stereo delays? You're only scratching the surface.
But wait — there's more! PODXT has our newest-generation A.I.R. II cabinet/microphone modeling which allows you to choose from 4 different classic mic models and even adjust how much of the room sound you hear! There's even a dedicated studio-quality compressor. Add a bit of verb (spring, plate, hall or room) and now you're ready to track.
PODXT even has a USB digital in/out for direct digital computer recording. And its flash-based memory means easy upgrades to keep your PODXT on the cutting edge.
With 128 user/factory presets, many based on some of the most popular guitar songs ever recorded, you'll have instant access to an unbelievable collection of classic guitar rigs. Imagine the sonic possibilities of having all the coolest amps, cabs, mics, stompboxes, and studio reverbs all tweaked, wired-up, and ready to go.
Based on the most prized amplifiers in the history of guitar, PODXT Live features 42 classic and modern amp models and 24 cab models, all run through 4 incredibly precise and dynamic microphone model options to provide a complete tonal palette for any type of live gig or studio session. This amazing collection of Line 6® Amp Models has been used on countless hit recordings and tours and is now on the floor at your disposal.
POD® XT delivers the sonic flexibility and quality of POD® through amp and cab models combined with over 60 classic stompbox and effect models, including hand-picked selections from our award-winning stompbox modeler series. Route the effects stompbox-style before the amp, or run 'em after. You want to put your fuzz through a tape delay and run it all in front of a small tweed amp? How about a lumpy vibe in to a high-powered "treadplate" head with a 1x8 speaker cab miked off-axis and dressed up with stereo delays? You're only scratching the surface.
But wait — there's more! PODXT has our newest-generation A.I.R. II cabinet/microphone modeling which allows you to choose from 4 different classic mic models and even adjust how much of the room sound you hear! There's even a dedicated studio-quality compressor. Add a bit of verb (spring, plate, hall or room) and now you're ready to track.
PODXT even has a USB digital in/out for direct digital computer recording. And its flash-based memory means easy upgrades to keep your PODXT on the cutting edge.
With 128 user/factory presets, many based on some of the most popular guitar songs ever recorded, you'll have instant access to an unbelievable collection of classic guitar rigs. Imagine the sonic possibilities of having all the coolest amps, cabs, mics, stompboxes, and studio reverbs all tweaked, wired-up, and ready to go.
But wait — there's more! PODXT has our newest-generation A.I.R. II cabinet/microphone modeling which allows you to choose from 4 different classic mic models and even adjust how much of the room sound you hear! There's even a dedicated studio-quality compressor. Add a bit of verb (spring, plate, hall or room) and now you're ready to track.
PODXT even has a USB digital in/out for direct digital computer recording. And its flash-based memory means easy upgrades to keep your PODXT on the cutting edge.
With 128 user/factory presets, many based on some of the most popular guitar songs ever recorded, you'll have instant access to an unbelievable collection of classic guitar rigs. Imagine the sonic possibilities of having all the coolest amps, cabs, mics, stompboxes, and studio reverbs all tweaked, wired-up, and ready to go.
Based on the most prized amplifiers in the history of guitar, PODXT Live features 42 classic and modern amp models and 24 cab models, all run through 4 incredibly precise and dynamic microphone model options to provide a complete tonal palette for any type of live gig or studio session. This amazing collection of Line 6® Amp Models has been used on countless hit recordings and tours and is now on the floor at your disposal.
POD® XT delivers the sonic flexibility and quality of POD® through amp and cab models combined with over 60 classic stompbox and effect models, including hand-picked selections from our award-winning stompbox modeler series. Route the effects stompbox-style before the amp, or run 'em after. You want to put your fuzz through a tape delay and run it all in front of a small tweed amp? How about a lumpy vibe in to a high-powered "treadplate" head with a 1x8 speaker cab miked off-axis and dressed up with stereo delays? You're only scratching the surface.
But wait — there's more! PODXT has our newest-generation A.I.R. II cabinet/microphone modeling which allows you to choose from 4 different classic mic models and even adjust how much of the room sound you hear! There's even a dedicated studio-quality compressor. Add a bit of verb (spring, plate, hall or room) and now you're ready to track.
PODXT even has a USB digital in/out for direct digital computer recording. And its flash-based memory means easy upgrades to keep your PODXT on the cutting edge.
With 128 user/factory presets, many based on some of the most popular guitar songs ever recorded, you'll have instant access to an unbelievable collection of classic guitar rigs. Imagine the sonic possibilities of having all the coolest amps, cabs, mics, stompboxes, and studio reverbs all tweaked, wired-up, and ready to go.
Line 6 DL4 Delay Modeler
The DL4 Delay Modeler offers you an incredible array of sounds, from a tube driven, tape loop echo (complete with adjustable wow and flutter), through 24 bit squeaky clean digital echo, to real-time reverse delay. Not only that, but you've got complete programmable control over all aspects of the sound in the studio and on the stage. Incredibly simple to use, it's an amazingly powerful tool offering you delay effects never before available in a single box.
The DL4 offers: Digital modeling based on* 15 of those vintage delay and echo effects you've always yearned for. Including: EP-1 Tube Echoplex, EP-3 solidstate Echoplex, Space Echo, Deluxe Memory Man, Reverse delay , Rhythmic delay, Dynamic delay and many more!
Our Loop Sampler includes 14 seconds of memory + 800ms of Pre-delay (sort of a delay within a delay), and features half speed and/or reverse overdubbing, and more...
This is it, folks; the fabled “green box” that’s been igniting creativity, passion and sheer awe since Line 6 first released its digitally modeled marvels on the world in 2000. Containing 16 models based* on legendary echo and delay boxes from the storied Maestro® EP-1 Echoplex to the awesome T.C. Electronic® 2290, the DL4 has in turn become a classic in its own right, as popular with guitarists as it is with singers, drummers, bassists, keyboardists, and anyone who wants a pure 24-bit true stereo signal path in the service of delays that run the gamut from gritty and psychedelic to pristine and heavenly.
You’d be insane to pack an original Roland® RE-101 Space Echo or Electro-Harmonix® Deluxe Memory Man into the back of your van for a club tour, but the DL4 packs models of those sounds and many more into a rugged, road-tested steel housing that can run for up to 30 hours on four “C” batteries or with the optional PX-2G power adaptor. Models of classic delay boxes—and the sweet choruses and vibratos that accompany many of them—are just the beginning; the DL4 also boasts innovative sounds like its “Auto-Volume Echo,” which combines a volume swell with a tweakable tape-style echo; or the outstanding “Reverse Delay,” which allows you to play stunning backwards guitar solos on the fly.
You also get those U2-style “Rhythmic Delays” in several metric flavors, super-cool “Ping-Pong Delay” effects, and outrageous stereo panned repeats. Look, if it ain’t in the DL4, it probably doesn’t exist . . . until you create it. What’s more, with its onboard 14-second looper, the DL4 is both the perfect practice tool and the ultimate creative canvas for crafting overdubs and creating textures, with its ½ speed and reverse modes ideal for sonic adventurers and arrangement-minded recordists alike.
Like all Line 6 stompbox Modelers, the DL4 boasts a simple and sturdy front panel design, with four footswitches for saving and recalling your sounds, and six knobs for selecting models and tweaking parameters, with distinct assignments for each knob depending on the delay model you’ve chosen. Paired with the optional EX-1 expression pedal, which lets you morph between two radically different settings for each of your sounds, the DL4 is truly the ultimate delay pedal, making the history of echo and delay available to your creative future.
Available Models:
• Tube Echo
• Tape Echo
• Multi-Head
• Sweep Echo
• Analog Echo
• Analog w/Mod
• Lo Res Delay
• Digital Delay
• Digital w/Mod
• Rhythmic Delays
• Stereo Delays
• Ping Pong
• Reverse
• Dynamic Delay
• Auto-Volume Echo
• Loop Sampler
DL4 Specifications
Digital Effects 16
Factory Presets 18
User Programmable Channels 3
Controls Effect Selector, Delay Time, Repeats, Tweak, Tweez, Mix
Additional Controls Tap Tempo (included), EX-1 Expression Pedal (optional)
Mono/ Stereo Stereo in, Stereo out (Loop Sampler sums signal to mono)
Chassis Color Green
Dimensions Length: 10-inches/25.4 cm; Width/Depth: 6-inches/15.24 cm; Height: 2.5-inches; Weight: 3.1 lbs
Find a dealer and purchase DL4 today.
Add an EX-1 Expression Pedal to your Line 6 stompbox Modeler.
Click here to learn more.
Save your batteries! Power your stompbox modeler with a PX-2G power supply.
Buy Now
Knowledge Base
User Manuals
User Discussion Forums
Software Downloads
The DL4 offers: Digital modeling based on* 15 of those vintage delay and echo effects you've always yearned for. Including: EP-1 Tube Echoplex, EP-3 solidstate Echoplex, Space Echo, Deluxe Memory Man, Reverse delay , Rhythmic delay, Dynamic delay and many more!
Our Loop Sampler includes 14 seconds of memory + 800ms of Pre-delay (sort of a delay within a delay), and features half speed and/or reverse overdubbing, and more...
This is it, folks; the fabled “green box” that’s been igniting creativity, passion and sheer awe since Line 6 first released its digitally modeled marvels on the world in 2000. Containing 16 models based* on legendary echo and delay boxes from the storied Maestro® EP-1 Echoplex to the awesome T.C. Electronic® 2290, the DL4 has in turn become a classic in its own right, as popular with guitarists as it is with singers, drummers, bassists, keyboardists, and anyone who wants a pure 24-bit true stereo signal path in the service of delays that run the gamut from gritty and psychedelic to pristine and heavenly.
You’d be insane to pack an original Roland® RE-101 Space Echo or Electro-Harmonix® Deluxe Memory Man into the back of your van for a club tour, but the DL4 packs models of those sounds and many more into a rugged, road-tested steel housing that can run for up to 30 hours on four “C” batteries or with the optional PX-2G power adaptor. Models of classic delay boxes—and the sweet choruses and vibratos that accompany many of them—are just the beginning; the DL4 also boasts innovative sounds like its “Auto-Volume Echo,” which combines a volume swell with a tweakable tape-style echo; or the outstanding “Reverse Delay,” which allows you to play stunning backwards guitar solos on the fly.
You also get those U2-style “Rhythmic Delays” in several metric flavors, super-cool “Ping-Pong Delay” effects, and outrageous stereo panned repeats. Look, if it ain’t in the DL4, it probably doesn’t exist . . . until you create it. What’s more, with its onboard 14-second looper, the DL4 is both the perfect practice tool and the ultimate creative canvas for crafting overdubs and creating textures, with its ½ speed and reverse modes ideal for sonic adventurers and arrangement-minded recordists alike.
Like all Line 6 stompbox Modelers, the DL4 boasts a simple and sturdy front panel design, with four footswitches for saving and recalling your sounds, and six knobs for selecting models and tweaking parameters, with distinct assignments for each knob depending on the delay model you’ve chosen. Paired with the optional EX-1 expression pedal, which lets you morph between two radically different settings for each of your sounds, the DL4 is truly the ultimate delay pedal, making the history of echo and delay available to your creative future.
Available Models:
• Tube Echo
• Tape Echo
• Multi-Head
• Sweep Echo
• Analog Echo
• Analog w/Mod
• Lo Res Delay
• Digital Delay
• Digital w/Mod
• Rhythmic Delays
• Stereo Delays
• Ping Pong
• Reverse
• Dynamic Delay
• Auto-Volume Echo
• Loop Sampler
DL4 Specifications
Digital Effects 16
Factory Presets 18
User Programmable Channels 3
Controls Effect Selector, Delay Time, Repeats, Tweak, Tweez, Mix
Additional Controls Tap Tempo (included), EX-1 Expression Pedal (optional)
Mono/ Stereo Stereo in, Stereo out (Loop Sampler sums signal to mono)
Chassis Color Green
Dimensions Length: 10-inches/25.4 cm; Width/Depth: 6-inches/15.24 cm; Height: 2.5-inches; Weight: 3.1 lbs
Find a dealer and purchase DL4 today.
Add an EX-1 Expression Pedal to your Line 6 stompbox Modeler.
Click here to learn more.
Save your batteries! Power your stompbox modeler with a PX-2G power supply.
Buy Now
Knowledge Base
User Manuals
User Discussion Forums
Software Downloads
Electro-Harmonix Cathedral Stereo Reverb
Electro-Harmonix Cathedral Stereo Reverb Enter the Cathedral and surround your music with the aria of divine presence. True stereo reverbs reveal your inspirations while programmability recalls your spirit of creation. The Cathedral is the performer’s mantra creating the perfect space for your instrument or voice while offering an elegance that takes your music to a higher ground.
* 24 bit AD and DA converters
* True stereo inputs and outputs
* 8 programmable reverb styles with the ability to load and save
* Tap Tempo to set pre-delay section
* Damping/Tone control available for each reverb mode
* Grail Spring, Accu Spring, Hall, Room, Plate, Reverse, Grail Flerb, Echo
* Hold tap tempo for infinite reverb
Cathedral
Stereo Reverb
THE CATHEDRAL WAS CHOSEN 2009 STOMPBOX OF THE YEAR BY MUSICRADAR.COM
Click here to see the article in our blog
EHX CATHEDRAL REVERB MARKED „TOP GEAR” by TopGuitar Musicians’ Magazine
Click here to see the article in our blog
Guitar Player Editors' Pick The Electro-Harmonix Cathedral Reverb has been rewarded the Guitar Player Magazine Editor’s Pick award for outstanding sonic performance.
"I am knocked out by the quality and vibe of these ‘verbs.” - Matt Blackett Guitar Player
Enter the Cathedral and surround your music with the aria of divine presence. True stereo reverbs reveal your inspirations while programmability recalls your spirit of creation. The Cathedral is the performer's mantra creating the perfect space for your instrument or voice while offering an elegance that takes your music to a higher ground.
Featured Videos
To suggest a video, send email to: info@ehx.com
Stuff from the Blog
Effectology, Vol.14 “Envelope Filter Oddities”
Posted 3/14/2010
In Effectology 14, pedal guru Bill Ruppert takes us on a journey to previously unchartered sonic territory. Using only Electro-Harmonix pedals and his guitar, Bill creates a series of “believe it or not” soundscapes. Whether it’s the sound of songbirds singing joyfully by a babbling brook or a vintage vinyl “lo-fi” recording complete with clicks and scratches, Bill’s mastery of effects will amaze you. As he says, “Never judge what an effect pedal will do by what you have heard it will do. Experiment and you will find new sounds not yet discovered!” Indeed!
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Effectology, Vol.12: “The Uilleann Pipes”
Effectology, Vol.13: “Pink Floyd Synth Effects”
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
TopGuitar award for EHX Cathedral Reverb
Posted 3/2/2010
Cathedral Stereo Reverb from Electro-Harmonix has been granted a „Top Gear” editors' award.
Below are some excerpts from a review by Grzegorz Ufnal, gear department editor:
“I plugged the Cathedral into a tube combo, expecting no spectacular outcomes. What I heard surpassed my expectations a thousand times.”
“During my first contact with this device I was just stunned and I can say, with all responsibility, that this is the best guitar stompbox reverb available on the market. It sounds beautiful.”
“To be honest, I never thought that I would ever consider replacing the analog with digital.”
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.13 “Pink Floyd Synth Effects”
Posted 2/25/2010
Sonic master Bill Ruppert reproduces the legendary Pink Floyd synth textures from “Welcome To The Machine .“ Using only his guitar and the perfect blend of EH pedals, Bill re-creates the amazing sound-scapes that made this recording special. Each EH pedal provides its own magic to reveal the complexity and textures of the EMS VC3 synthesizer with stunning accuracy.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Effectology, Vol.12: “The Uilleann Pipes”
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.12 “The Uilleann Pipes”
Posted 2/8/2010
In Effectology 12, pedal wizard Bill Ruppert reproduces the sounds of the Irish Uilleann pipes with a realistic and haunting backdrop. Ethereal Harmonic Drones, giant “Field Drums” and the elegant strings are crafted with the perfect integration of his guitar combined with quality Electro-Harmonix effects.
The “Spectral gate” on the HOG combined with the Big Muff Pi provides a harmonic filter that focused the beautiful string tone.The Cathedral Stereo Reverb preserves the reality with the perfect spatial ambience.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Mike Matthews receives the prestigious Builder of the Year award
Posted 1/19/2010
Blake Wright, co-founder, of the highly respected music website What’s that Dude Play? presents the Builder of the Year award to Electro-Harmonix founder, Mike Matthews. This award was for the continued excellence and commitment to designing the finest and most creative instruments for the year 2009.
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
EHX Cathedral and V256 by Premier Guitar
Posted 1/11/2010
From the masters at Premier Guitar’s online magazine come two reviews for the Electro-Harmonix Cathedral Stereo Reverb and the V256 Vocoder with Reflex Tune done by Jordan Wagner.
Read the Cathedral Review here
Read the V256 Review here
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
CATHEDRAL / Music Radar / Stompbox of the Year
Posted 12/17/2009
The Electro-Harmonix Cathedral Stereo Reverb has been awarded the "2009 stompbox of the year" award by the world respected MusicRadar.com
site offered by Future UK. To Quote them, "the Cathedral Stereo Reverb is the pick of the bunch. Electro-Harmonix have packed the Cathedral to the rafters with a wonderful range of verbs. It even has a great delay mode. What the hell did we do before it existed?"
Click here to see the full article in MusicRadar.com
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.11 Crystal Shimmer Effects
Posted 12/8/2009
Welcome to the eleventh installment of EHX Effectology. Bill’s shimmering tones and lush string pads aptly demonstrate the powerful potential that all Electro-Harmonix pedals have. From gorgeous, glassy creations to an elegant legato string section, Bill delivers classic sounds that rival some of the finest studio gear. All sounds were created with one talented guitarist and the perfect interaction of Electro-Harmonix pedals.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Electro-Harmonix Cathedral Stereo Reverb by musicradar.com
Posted 11/17/2009
The highly respected website Music Radar reviewed the Cathedral Stereo Reverb featuring Infinite reverb. In their own words: “EHX’s amazing new reverb….Electro-Harmonix might have just unleashed the stompbox reverb daddy.“
To see the full review on Music Radar site click: www.musicradar.com
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.10 “No Quarter” The Electric Piano effect
Posted 11/16/2009
Welcome to the tenth installment of EHX Effectology. In this episode Bill demonstrates a sound that reminds him of the keyboard sound in the Led Zepplein song “No Quarter”.
Second example is more of a traditional Fender Rhodes sound with a solo using the guitar into a Voice Box whistle mode.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Cathedral and V256 ad in “Guitar and Bass” Magazine
Posted 11/11/2009
See our latest ad of Cathedral and V256 in the well known “Guitar and Bass” Magazine.
Click here to see the full ad
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
EHX Effectology Halloween
Posted 10/28/2009
Ultra creative, Chicago studio musician, Bill Ruppert, releases the Goblins and Witches as he delivers Effectology 9: HALLOWEEN. Terrifying effect pedals. All effects were created using only Electro-Harmonix gear. Bill provides detailed graphics on how each tone was created.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ”
Effectology, Vol. 5: “Autobahn”“
Effectology, Vol. 6: The Mellotron”
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.8 Telstar—The Clavioline
Posted 10/7/2009
The great Bill Ruppert creating remarkable collection of sounds.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.7 Reverb Tricks
Posted 9/21/2009
Yet another great Effectology episode by the great Bill Ruppert.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Submissions to EHX.com
Do you have something that you'd like to share with the Electro-Harmonix community? (a tip on getting a great sound, a cool site, a video, or whatever?) Please send your suggestions to:
info@ehx.com
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Instructions (Web page)
Instructions (PDF)
EHX: Reverb
EHX: Vocal Processors
Quick Specs
24 bit AD and DA converters
True stereo inputs and outputs
8 programmable reverb styles with the ability to load and save
Tap Tempo to set pre-delay section
Damping/Tone control available for each reverb mode
Grail Spring, Accu Spring, Hall, Room, Plate, Reverse, Grail Flerb, Echo
Hold tap tempo for infinite reverb
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Here are a few easy ways to stay informed on the latest news from Electro-Harmonix...
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EHX Merch Shop
Show your colors with an EHX t-shirt -- you can even custom design your own shirt from scratch!
Visit the EHX Merch Shop
EHX Strings
We've been playing these EHX Strings ever since we first took them home to try them out, back in 2002.
We find them to consistently offer rich harmonics with powerful definition, while also lasting longer and staying in tune longer than conventional strings.
We use them, we like them, and we think you will too. Available in 9's, 10's, 11's.
Electro-Harmonix | www.ehx.com | Blog | Forums | Merch
* 24 bit AD and DA converters
* True stereo inputs and outputs
* 8 programmable reverb styles with the ability to load and save
* Tap Tempo to set pre-delay section
* Damping/Tone control available for each reverb mode
* Grail Spring, Accu Spring, Hall, Room, Plate, Reverse, Grail Flerb, Echo
* Hold tap tempo for infinite reverb
Cathedral
Stereo Reverb
THE CATHEDRAL WAS CHOSEN 2009 STOMPBOX OF THE YEAR BY MUSICRADAR.COM
Click here to see the article in our blog
EHX CATHEDRAL REVERB MARKED „TOP GEAR” by TopGuitar Musicians’ Magazine
Click here to see the article in our blog
Guitar Player Editors' Pick The Electro-Harmonix Cathedral Reverb has been rewarded the Guitar Player Magazine Editor’s Pick award for outstanding sonic performance.
"I am knocked out by the quality and vibe of these ‘verbs.” - Matt Blackett Guitar Player
Enter the Cathedral and surround your music with the aria of divine presence. True stereo reverbs reveal your inspirations while programmability recalls your spirit of creation. The Cathedral is the performer's mantra creating the perfect space for your instrument or voice while offering an elegance that takes your music to a higher ground.
Featured Videos
To suggest a video, send email to: info@ehx.com
Stuff from the Blog
Effectology, Vol.14 “Envelope Filter Oddities”
Posted 3/14/2010
In Effectology 14, pedal guru Bill Ruppert takes us on a journey to previously unchartered sonic territory. Using only Electro-Harmonix pedals and his guitar, Bill creates a series of “believe it or not” soundscapes. Whether it’s the sound of songbirds singing joyfully by a babbling brook or a vintage vinyl “lo-fi” recording complete with clicks and scratches, Bill’s mastery of effects will amaze you. As he says, “Never judge what an effect pedal will do by what you have heard it will do. Experiment and you will find new sounds not yet discovered!” Indeed!
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Effectology, Vol.12: “The Uilleann Pipes”
Effectology, Vol.13: “Pink Floyd Synth Effects”
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
TopGuitar award for EHX Cathedral Reverb
Posted 3/2/2010
Cathedral Stereo Reverb from Electro-Harmonix has been granted a „Top Gear” editors' award.
Below are some excerpts from a review by Grzegorz Ufnal, gear department editor:
“I plugged the Cathedral into a tube combo, expecting no spectacular outcomes. What I heard surpassed my expectations a thousand times.”
“During my first contact with this device I was just stunned and I can say, with all responsibility, that this is the best guitar stompbox reverb available on the market. It sounds beautiful.”
“To be honest, I never thought that I would ever consider replacing the analog with digital.”
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.13 “Pink Floyd Synth Effects”
Posted 2/25/2010
Sonic master Bill Ruppert reproduces the legendary Pink Floyd synth textures from “Welcome To The Machine .“ Using only his guitar and the perfect blend of EH pedals, Bill re-creates the amazing sound-scapes that made this recording special. Each EH pedal provides its own magic to reveal the complexity and textures of the EMS VC3 synthesizer with stunning accuracy.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Effectology, Vol.12: “The Uilleann Pipes”
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.12 “The Uilleann Pipes”
Posted 2/8/2010
In Effectology 12, pedal wizard Bill Ruppert reproduces the sounds of the Irish Uilleann pipes with a realistic and haunting backdrop. Ethereal Harmonic Drones, giant “Field Drums” and the elegant strings are crafted with the perfect integration of his guitar combined with quality Electro-Harmonix effects.
The “Spectral gate” on the HOG combined with the Big Muff Pi provides a harmonic filter that focused the beautiful string tone.The Cathedral Stereo Reverb preserves the reality with the perfect spatial ambience.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Effectology, Vol.11: Crystal Shimmer Effects
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Mike Matthews receives the prestigious Builder of the Year award
Posted 1/19/2010
Blake Wright, co-founder, of the highly respected music website What’s that Dude Play? presents the Builder of the Year award to Electro-Harmonix founder, Mike Matthews. This award was for the continued excellence and commitment to designing the finest and most creative instruments for the year 2009.
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
EHX Cathedral and V256 by Premier Guitar
Posted 1/11/2010
From the masters at Premier Guitar’s online magazine come two reviews for the Electro-Harmonix Cathedral Stereo Reverb and the V256 Vocoder with Reflex Tune done by Jordan Wagner.
Read the Cathedral Review here
Read the V256 Review here
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
CATHEDRAL / Music Radar / Stompbox of the Year
Posted 12/17/2009
The Electro-Harmonix Cathedral Stereo Reverb has been awarded the "2009 stompbox of the year" award by the world respected MusicRadar.com
site offered by Future UK. To Quote them, "the Cathedral Stereo Reverb is the pick of the bunch. Electro-Harmonix have packed the Cathedral to the rafters with a wonderful range of verbs. It even has a great delay mode. What the hell did we do before it existed?"
Click here to see the full article in MusicRadar.com
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.11 Crystal Shimmer Effects
Posted 12/8/2009
Welcome to the eleventh installment of EHX Effectology. Bill’s shimmering tones and lush string pads aptly demonstrate the powerful potential that all Electro-Harmonix pedals have. From gorgeous, glassy creations to an elegant legato string section, Bill delivers classic sounds that rival some of the finest studio gear. All sounds were created with one talented guitarist and the perfect interaction of Electro-Harmonix pedals.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Effectology, Vol.10: “No Quarter” The Electric Piano effect
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Electro-Harmonix Cathedral Stereo Reverb by musicradar.com
Posted 11/17/2009
The highly respected website Music Radar reviewed the Cathedral Stereo Reverb featuring Infinite reverb. In their own words: “EHX’s amazing new reverb….Electro-Harmonix might have just unleashed the stompbox reverb daddy.“
To see the full review on Music Radar site click: www.musicradar.com
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.10 “No Quarter” The Electric Piano effect
Posted 11/16/2009
Welcome to the tenth installment of EHX Effectology. In this episode Bill demonstrates a sound that reminds him of the keyboard sound in the Led Zepplein song “No Quarter”.
Second example is more of a traditional Fender Rhodes sound with a solo using the guitar into a Voice Box whistle mode.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Effectology, Vol. 9: Halloween
Stay tuned, more Effectology episodes coming soon!
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Cathedral and V256 ad in “Guitar and Bass” Magazine
Posted 11/11/2009
See our latest ad of Cathedral and V256 in the well known “Guitar and Bass” Magazine.
Click here to see the full ad
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EHX Effectology Halloween
Posted 10/28/2009
Ultra creative, Chicago studio musician, Bill Ruppert, releases the Goblins and Witches as he delivers Effectology 9: HALLOWEEN. Terrifying effect pedals. All effects were created using only Electro-Harmonix gear. Bill provides detailed graphics on how each tone was created.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ”
Effectology, Vol. 5: “Autobahn”“
Effectology, Vol. 6: The Mellotron”
Effectology, Vol. 7: Reverb Tricks
Effectology, Vol. 8: Telstar—The Clavioline
Stay tuned, more Effectology episodes coming soon!
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Effectology, Vol.8 Telstar—The Clavioline
Posted 10/7/2009
The great Bill Ruppert creating remarkable collection of sounds.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Effectology, Vol. 7: Reverb Tricks
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
Effectology, Vol.7 Reverb Tricks
Posted 9/21/2009
Yet another great Effectology episode by the great Bill Ruppert.
Please note: Bill will be in the EHX Forums to discuss his sounds, settings, and process. We hope you join us there.
Previous episodes:
Effectology, Vol. 1: Electric Guitar plays Blues Harmonica
Effectology, Vol. 2: Dark Side of the Moon
Effectology, Vol. 3: Cello Concerto
Effectology Origins: The Who’s “Won’t Get Fooled Again”
Effectology, Vol. 4: Hammond B-3 Organ
Effectology, Vol. 5: “Autobahn”
Effectology, Vol. 6: The Mellotron
Stay tuned, more Effectology episodes coming soon!
Subscribe to EHX via: Facebook | YouTube | MySpace | Twitter | RSS
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EHX: Reverb
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8 programmable reverb styles with the ability to load and save
Tap Tempo to set pre-delay section
Damping/Tone control available for each reverb mode
Grail Spring, Accu Spring, Hall, Room, Plate, Reverse, Grail Flerb, Echo
Hold tap tempo for infinite reverb
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EHX Strings
We've been playing these EHX Strings ever since we first took them home to try them out, back in 2002.
We find them to consistently offer rich harmonics with powerful definition, while also lasting longer and staying in tune longer than conventional strings.
We use them, we like them, and we think you will too. Available in 9's, 10's, 11's.
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Electro-Harmonix Memory Boy
What is it that makes a performance legend? Experience and design integrity make a legend. Since the early 1970’s, Electro-Harmonix has been designing analog delays featured on some of the greatest recordings and used by legendary musicians throughout the world. From the original Memory Man to the Deluxe Memory Man, still available today, our delays are desired instruments for the organic tones that deliver textures that define quality.
The new Memory Boy carries the performance heritage for warm analog delays and modulations that made its ancestors the go to legends that remain today. With two years in design using new and refined, analog IC’s the focus was making the legend affordable to every musician while maintaining the character and artistic sounds that let you stand apart.
The new Memory Boy straps on the cape and flies with heritage into the search for amazing sound at a price that mere mortals can afford.
* All analog delay with Feedback
* Up to 550 ms delay time
* Selectable Chorus or Vibrato modulations rates
* Choose between triangle or square modulation waveforms
* Expression pedal control of delay time or modulation rate (expression pedal extends the range of modulation rate)
* True Bypass
The new Memory Boy carries the performance heritage for warm analog delays and modulations that made its ancestors the go to legends that remain today. With two years in design using new and refined, analog IC’s the focus was making the legend affordable to every musician while maintaining the character and artistic sounds that let you stand apart.
The new Memory Boy straps on the cape and flies with heritage into the search for amazing sound at a price that mere mortals can afford.
* All analog delay with Feedback
* Up to 550 ms delay time
* Selectable Chorus or Vibrato modulations rates
* Choose between triangle or square modulation waveforms
* Expression pedal control of delay time or modulation rate (expression pedal extends the range of modulation rate)
* True Bypass
Electro-Harmonix Stereo Memory Man
Electro-Harmonix Stereo Memory Man with Hazarai It’s an echo, a multi-tap delay, a reverse echo, and a performance looper with up to 30 seconds of loop time, all in true stereo! Featuring tap tempo, vintage tape echo filtering, and eight programmable presets... it’s got all the Hazarai. Designed for the performing musician and destined to be one of the most creative tools on your pedalboard.
TRUE BYPASS SWITCHING!
power supply included
Stereo Memory Man with Hazarai
Digital Delay/Looper
It's a looper, it's a multi-tap delay, it's an echo with reverse...its got all the Hazarai.
The Stereo Memory Man is a real time performance tour de force. As a Looper it has up to a full 30 seconds of loop time. World class echoes with modulation and reverse are just a few of the choices. The Stereo Memory Man with Hazarai is destined to be one of the most creative instruments you will ever own. Ethereal tone-scapes to full musical performances are only limited by your imagination. And it's all in stereo.
TRUE BYPASS SWITCHING!
power supply included
Stereo Memory Man with Hazarai
Digital Delay/Looper
It's a looper, it's a multi-tap delay, it's an echo with reverse...its got all the Hazarai.
The Stereo Memory Man is a real time performance tour de force. As a Looper it has up to a full 30 seconds of loop time. World class echoes with modulation and reverse are just a few of the choices. The Stereo Memory Man with Hazarai is destined to be one of the most creative instruments you will ever own. Ethereal tone-scapes to full musical performances are only limited by your imagination. And it's all in stereo.
Monday, April 5, 2010
New American Deluxe Series Guitars
The new American Deluxe Stratocaster Ash.
Fender’s new American Deluxe guitars debut in 2010, consisting of four Stratocaster® and two Telecaster® guitar models that bring the series singing and screaming into a new decade of tone, tradition and innovation.
The instruments are the American Deluxe Stratocaster, American Deluxe Stratocaster HSS, American Deluxe Stratocaster V Neck, American Deluxe Stratocaster Ash, American Deluxe Telecaster and American Deluxe Telecaster Ash. They differ from their predecessors of the previous incarnation of the American Deluxe series in three new and major ways:
* N3 Noiseless pickups. These replace the Samarium Cobalt Noiseless pickups used on previous American Deluxe Stratocaster and Telecaster models. N3 noiseless pickups, made with alnico magnets, supercharge the Stratocaster guitar’s sparkling bell-like chime and the Telecaster guitar’s signature snap, all with no hum.
* Compound radius fretboard. Never before offered as a standard feature on a Fender guitar, the 9.5”-14” compound radius fretboard allows exhilaratingly effortless string bending anywhere along the neck, letting you bend high and chord low with ease.
* Reconfigured S-1 switching. Delivers even more tonal options than before.
* New cases. Tough SKB/Fender high-tech molded cases with TSA locks.
Further new features vary by model. The Stratocaster models, for example, now have tremolo units with copper-infused blocks rather than the earlier resin-infused blocks, increasing mass and sustain. The Stratocaster HSS model also boasts an LSR roller nut for improved tuning stability and the new “passing lane” switch, which instantly routes the signal from any pickup position to the bridge position with the tone circuit bypassed, heightening overtones and volume.
And like its Stratocaster brothers, the new American Deluxe Telecaster models now have staggered locking tuners for increased sustain and improved tuning stability.
The American Deluxe series still features the body contours (except the Telecaster Ash, which has a slab body), gloss urethane finishes and medium jumbo frets as before.
Fender’s new American Deluxe guitars debut in 2010, consisting of four Stratocaster® and two Telecaster® guitar models that bring the series singing and screaming into a new decade of tone, tradition and innovation.
The instruments are the American Deluxe Stratocaster, American Deluxe Stratocaster HSS, American Deluxe Stratocaster V Neck, American Deluxe Stratocaster Ash, American Deluxe Telecaster and American Deluxe Telecaster Ash. They differ from their predecessors of the previous incarnation of the American Deluxe series in three new and major ways:
* N3 Noiseless pickups. These replace the Samarium Cobalt Noiseless pickups used on previous American Deluxe Stratocaster and Telecaster models. N3 noiseless pickups, made with alnico magnets, supercharge the Stratocaster guitar’s sparkling bell-like chime and the Telecaster guitar’s signature snap, all with no hum.
* Compound radius fretboard. Never before offered as a standard feature on a Fender guitar, the 9.5”-14” compound radius fretboard allows exhilaratingly effortless string bending anywhere along the neck, letting you bend high and chord low with ease.
* Reconfigured S-1 switching. Delivers even more tonal options than before.
* New cases. Tough SKB/Fender high-tech molded cases with TSA locks.
Further new features vary by model. The Stratocaster models, for example, now have tremolo units with copper-infused blocks rather than the earlier resin-infused blocks, increasing mass and sustain. The Stratocaster HSS model also boasts an LSR roller nut for improved tuning stability and the new “passing lane” switch, which instantly routes the signal from any pickup position to the bridge position with the tone circuit bypassed, heightening overtones and volume.
And like its Stratocaster brothers, the new American Deluxe Telecaster models now have staggered locking tuners for increased sustain and improved tuning stability.
The American Deluxe series still features the body contours (except the Telecaster Ash, which has a slab body), gloss urethane finishes and medium jumbo frets as before.
Wampler Pedals Super Plextortion and Pinnacle Pedal Review
by Jordan Wagner
The Super Plextortion and Pinnacle from Brian Wampler aim for two iconic rock sounds: Plexi Marshall and Van Halen's "Brown Sound."
Premier Guitar April 2010
Email this article: Wampler Pedals Super Plextortion and Pinnacle Pedal Review
Known throughout popular DIY internet forums and publications alike, Brian Wampler is a true example of just how powerful the internet can be. After he modded several pedals for members of the Harmony Central gear forums, word spread of his talents and know-how, and soon he was in demand from casual and seasoned players alike. He started offering his own designs for sale, and also formed indyguitarist.com with a forum for DIY pedal modding enthusiasts to post communicate with one another on how to improve the sound of their gear. With 15 pedals available for guitarists, Wampler has now added the Super Plextortion (a modern update of his admired Plextortion) and Pinnacle Distortion to the lineup.
Super Plextortion
Download Example 1
PRS McCarty into a 1973 Marshall Super Bass with a Bogner 4x12
The Super Plextortion is a beefed-up variation of Wampler’s popular Plextortion pedal. The idea was to provide a more modern array of tones by altering the internal gain stages (three total), giving more transparency and bite with a tighter low end. The original Plextortion is still offered by Wampler, as it has more of a vintage-vibe with a heavier midrange emphasis than its newer brother. Located on the front panel of the Super Plextortion is a 3-band EQ consisting of Treble, Mid, and Bass controls. Sandwiched between a Volume and a Gain control is a Gain Boost switch for saturated leads and heavier riffing.
Part of the Wampler philosophy is affordability. Brian likes to test his effects through affordable rigs that most people would have the chance of owning. I now own a really great-sounding 1973 Marshall Super Bass head, but before I was able to acquire it, I went through tons of pedals trying to capture that sound with whatever amp I had at the time. Simply put, pedals like this exist because not everybody can afford a vintage plexi or metalface Marshall amplifier, so I decided to give the pedal a run through a Fender Twin Reverb reissue with a 1998 Gibson Les Paul Studio equipped with a Seymour Duncan JB (bridge) and Jazz (neck) combination. With all of the controls at noon and the gain boost off, the Super Plextortion handled light, open-chord riffing quite well, with a great amount of transparency. I love pedals that allow me to hear my pick making contact with the strings as I slice through a chord, while at the same time keeping a reasonable amount of string clarity. Not only did the Super Plextortion handle this expertly, but as I increased the Gain, the definition just got stronger and punchier. Only on lower strings below the fifth fret did the low end start to muddy up a bit, but backing off of the gain helped restore the tone to its former glory.
The voicing of the pedal is darker than most vintage Super Lead heads I’ve come across. Gear hunters who have scoured the ends of the earth for vintage Marshalls will love this, as many of those older plexis had very different feel and voicings due to slight variations in the circuit. The voicing of the Super Plextortion is just right, perfect for high-gain work in the vein of George Lynch. While the Super Plextortion has a great deal of gain, it’s best applied to styles of music famous from the modded-Marshall era of tones—the ‘80s and early ‘90s. Think Slave To The Grind-era Skid Row rather than the more current, grinding rhythm tones produced by bands like Slayer. I especially liked how well it sat in line with the famously bright Twin Reverb. All too often I’ve seen bands with bright-sounding rigs try to pummel the front end of the amps with high-gain distortion pedals, only to produce horrible ear fatigue from a bad mix with the band. For players looking for that hot-rodded Marshall tone without having to lug a vintage half-stack behind them, the Super Plextortion might be just the ticket.
The Super Plextortion and Pinnacle from Brian Wampler aim for two iconic rock sounds: Plexi Marshall and Van Halen's "Brown Sound."
Premier Guitar April 2010
Email this article: Wampler Pedals Super Plextortion and Pinnacle Pedal Review
Known throughout popular DIY internet forums and publications alike, Brian Wampler is a true example of just how powerful the internet can be. After he modded several pedals for members of the Harmony Central gear forums, word spread of his talents and know-how, and soon he was in demand from casual and seasoned players alike. He started offering his own designs for sale, and also formed indyguitarist.com with a forum for DIY pedal modding enthusiasts to post communicate with one another on how to improve the sound of their gear. With 15 pedals available for guitarists, Wampler has now added the Super Plextortion (a modern update of his admired Plextortion) and Pinnacle Distortion to the lineup.
Super Plextortion
Download Example 1
PRS McCarty into a 1973 Marshall Super Bass with a Bogner 4x12
The Super Plextortion is a beefed-up variation of Wampler’s popular Plextortion pedal. The idea was to provide a more modern array of tones by altering the internal gain stages (three total), giving more transparency and bite with a tighter low end. The original Plextortion is still offered by Wampler, as it has more of a vintage-vibe with a heavier midrange emphasis than its newer brother. Located on the front panel of the Super Plextortion is a 3-band EQ consisting of Treble, Mid, and Bass controls. Sandwiched between a Volume and a Gain control is a Gain Boost switch for saturated leads and heavier riffing.
Part of the Wampler philosophy is affordability. Brian likes to test his effects through affordable rigs that most people would have the chance of owning. I now own a really great-sounding 1973 Marshall Super Bass head, but before I was able to acquire it, I went through tons of pedals trying to capture that sound with whatever amp I had at the time. Simply put, pedals like this exist because not everybody can afford a vintage plexi or metalface Marshall amplifier, so I decided to give the pedal a run through a Fender Twin Reverb reissue with a 1998 Gibson Les Paul Studio equipped with a Seymour Duncan JB (bridge) and Jazz (neck) combination. With all of the controls at noon and the gain boost off, the Super Plextortion handled light, open-chord riffing quite well, with a great amount of transparency. I love pedals that allow me to hear my pick making contact with the strings as I slice through a chord, while at the same time keeping a reasonable amount of string clarity. Not only did the Super Plextortion handle this expertly, but as I increased the Gain, the definition just got stronger and punchier. Only on lower strings below the fifth fret did the low end start to muddy up a bit, but backing off of the gain helped restore the tone to its former glory.
The voicing of the pedal is darker than most vintage Super Lead heads I’ve come across. Gear hunters who have scoured the ends of the earth for vintage Marshalls will love this, as many of those older plexis had very different feel and voicings due to slight variations in the circuit. The voicing of the Super Plextortion is just right, perfect for high-gain work in the vein of George Lynch. While the Super Plextortion has a great deal of gain, it’s best applied to styles of music famous from the modded-Marshall era of tones—the ‘80s and early ‘90s. Think Slave To The Grind-era Skid Row rather than the more current, grinding rhythm tones produced by bands like Slayer. I especially liked how well it sat in line with the famously bright Twin Reverb. All too often I’ve seen bands with bright-sounding rigs try to pummel the front end of the amps with high-gain distortion pedals, only to produce horrible ear fatigue from a bad mix with the band. For players looking for that hot-rodded Marshall tone without having to lug a vintage half-stack behind them, the Super Plextortion might be just the ticket.
Sunday, March 28, 2010
2010 Pro Tone Pedals - Jason Becker Signature Distortion Pedal
SKU: GS2618198
Jason Becker- legendary guitarist from Cacophony & David Lee Roth… what can you say about this guy that hasn’t been said a million times? So lets just let the pedal do the talking. The Jason Becker Distortion was the talk of the 2009 Winter NAMM show, and culminated in the pedal being listed in Guitar Player Magazines Best Of NAMM issue. The Jason Becker Distortion is a 100% hand wired analog emulation of the British amp used by Jason during the Perpetual Burn recording sessions, with added gain and a boost channel. The additional gain came from Jason telling us that he really enjoyed the higher gain sounds he was using later in his career from a newer amplifier. The end result is 2 pedals in one: A distortion pedal recreating Jason’s burning distorted tone, and a meaty boost pedal that can be used by itself or in conjunction with the distortion to send your guitar to tonal nirvana. Features: * Pre Amp Volume, Gain, Master Volume and Burn (boost) controls * Ultra flexible 3 band tone stack modeled after Jasons amps * Original artwork painted by Jason’s father Gary Becker * Operates on a standard 9 volt (negaive tip) BOSS style adapter * True Hardwire Bypass with grouned input for noise free operation * Stomp switch built to withstand years of hard stomping shows * Durable aluminum housing * Super-Bright LED’s for easy onstage identification * Proudly built by hand in Crossroads, Texas Knob colors/configuration may vary; not recommended for digital based amplifiers. For more information and pricing, please visit http://protonepedals.com more information »
Jason Becker- legendary guitarist from Cacophony & David Lee Roth… what can you say about this guy that hasn’t been said a million times? So lets just let the pedal do the talking. The Jason Becker Distortion was the talk of the 2009 Winter NAMM show, and culminated in the pedal being listed in Guitar Player Magazines Best Of NAMM issue. The Jason Becker Distortion is a 100% hand wired analog emulation of the British amp used by Jason during the Perpetual Burn recording sessions, with added gain and a boost channel. The additional gain came from Jason telling us that he really enjoyed the higher gain sounds he was using later in his career from a newer amplifier. The end result is 2 pedals in one: A distortion pedal recreating Jason’s burning distorted tone, and a meaty boost pedal that can be used by itself or in conjunction with the distortion to send your guitar to tonal nirvana. Features: * Pre Amp Volume, Gain, Master Volume and Burn (boost) controls * Ultra flexible 3 band tone stack modeled after Jasons amps * Original artwork painted by Jason’s father Gary Becker * Operates on a standard 9 volt (negaive tip) BOSS style adapter * True Hardwire Bypass with grouned input for noise free operation * Stomp switch built to withstand years of hard stomping shows * Durable aluminum housing * Super-Bright LED’s for easy onstage identification * Proudly built by hand in Crossroads, Texas Knob colors/configuration may vary; not recommended for digital based amplifiers. For more information and pricing, please visit http://protonepedals.com more information »
DigiTech Announces JamMan Delay Looper by Premier Guitar
The JamMan Delay Looper features true stereo looping with a fully programmable stereo delay and ultimate control over each effect.
Frankfurt, Germany (March 25, 2010) – DigiTech announces the release of its JamMan Delay Looper. The JamMan Delay Looper features true stereo looping with a fully programmable stereo delay and ultimate control over each effect.
The JamMan Delay Looper boasts attributes never-before-offered by stage-ready, individually controlled loopers. With 35 minutes of built-in memory for each of its 99 internal loop memories and an SD card expansion, the JamMan Delay Looper is capable of storing more than 16 hours of CD-quality audio.
The newest addition to the DigiTech JamMan line offers 16 seconds of stereo delay time, a tap tempo footswitch and expression pedal input for full morphing capability per each of its eight delay types or control of the looper playback. The looper’s stereo delay can be recalled through three fully programmable presets via dedicated footswitches.
“The JamMan Delay Looper enhances the capabilities of guitarists and bassists playing gigs from an open mic to a sold out concert hall,” said Jason Lamb, Marketing Manager for DigiTech. “Our goal is to continuously provide players with new ways of expanding their capabilities and developing their skills. The JamMan Delay Looper will take artists to the next level through their performances.”
USB capability syncs the JamMan Delay to a users PC or Mac using the downloadable JamManager looper librarian software to backup all compositions. The free JamManager software also allows musicians to create custom loop JamLists for each gig.
The JamMan Delay Looper will be shipping in May 2010 with an MSRP of $519.95.
For more information:
DigiTech
Frankfurt, Germany (March 25, 2010) – DigiTech announces the release of its JamMan Delay Looper. The JamMan Delay Looper features true stereo looping with a fully programmable stereo delay and ultimate control over each effect.
The JamMan Delay Looper boasts attributes never-before-offered by stage-ready, individually controlled loopers. With 35 minutes of built-in memory for each of its 99 internal loop memories and an SD card expansion, the JamMan Delay Looper is capable of storing more than 16 hours of CD-quality audio.
The newest addition to the DigiTech JamMan line offers 16 seconds of stereo delay time, a tap tempo footswitch and expression pedal input for full morphing capability per each of its eight delay types or control of the looper playback. The looper’s stereo delay can be recalled through three fully programmable presets via dedicated footswitches.
“The JamMan Delay Looper enhances the capabilities of guitarists and bassists playing gigs from an open mic to a sold out concert hall,” said Jason Lamb, Marketing Manager for DigiTech. “Our goal is to continuously provide players with new ways of expanding their capabilities and developing their skills. The JamMan Delay Looper will take artists to the next level through their performances.”
USB capability syncs the JamMan Delay to a users PC or Mac using the downloadable JamManager looper librarian software to backup all compositions. The free JamManager software also allows musicians to create custom loop JamLists for each gig.
The JamMan Delay Looper will be shipping in May 2010 with an MSRP of $519.95.
For more information:
DigiTech
Friday, March 19, 2010
Thursday, March 18, 2010
Aristides Guitar Givevaway
Jan 16, 2010
Grand Prize: Aristides 010 Black Electric Guitar
Expires: Feb 28, 2010
Open Worldwide
The new Aristides 010 guitar is one of a kind due to it’s unparalleled sustain, superlative resonance and…every guitar is custom made.
Sponsored by Aristides Instruments
http://contest.aristidesinstruments.com/010-black-specs.html
Boss eBand JS-8 Review by Michael Ross BOSS eBand allows you to jam along with an array of backing tracks using COSM-modeled amps and effects.
 | Download Example 1 Full backing track using the Texas Riff guitar setting |
| Download Example 2 The same groove with just bass and drums, using the JB lead guitar sound |
| Download Example 3 The Jazz Blues backing track with customized sound based on the Clean Reverb setting |
| All clips recorded using eBand as a USB audio interface with Ableton Live 8 | |
You can load a song of your own choosing, either from a memory stick or directly from your computer using the USB port. The eBand accepts a variety of WAV files or MP3 files. Playing along is as easy as plugging your guitar into the input and adjusting the Guitar and Master levels. Silent monitoring is also possible with the mini-plug headphone jack next to the input. The eBand’s Speed button instantly drops the speed of any track to 75 percent of the original. If that’s not enough to help you figure out that shred lick, you can further reduce the tempo by turning the large function knob, shifting to as little as half the initial bpm. If you’re feeling frisky, you can also go 50 percent faster than the original. Boss provides onboard COSM-modeled amps and a range of effects from fuzz to flanger. You can add two more effects—any one of 34 COSM guitar and bass amps, and any one of the 44 effects (12 types) in the FX Group—to the always-available delay, chorus, reverb, EQ, noise gate, and EZ Character, which is essentially a mid cut and boost, for a total of six at once. The effect order is set, but the eBand does allow a fair amount of parameter tweaking.
Plugging In
Rather than take you through every feature and option, let me relate my eBand experience, to give you an idea of its strengths and weaknesses. (spoiler alert: there aren’t many of the latter.) I popped the Boss unit out of its packaging and was up and running in seconds. All I had to do was plug in the included adaptor (it doesn’t run on batteries) and jack in my 1965 Stratocaster and I was ready to rock… or jazz, pop, Latin, ballad, blues, metal, etc. Scrolling across the top of the LCD screen, I saw the style of music, name of the groove, instrumentation, and key: in the first case, “Country: Country Rock (Bs&Dr, Key: D).” Occasionally the labeling was not entirely accurate. In this case there was acoustic guitar present as well as bass and drums, and sometimes the key of C may turn out to be Am, but for the most part it was correct. Beginners might need help figuring out the chords in some progressions.
Underneath the scrolling info is the patch number and the type of guitar sound (e.g. “Bluesy Crunch”). The next row contains Play mode. Modes can be selected to play the track once then stop, continuously loop it, or various other operations. I decided to leave the mode on “loop” and dive in. Being the self-proclaimed King of the Power Ballad Solo, I chose “Ballad: Rock Ballad (Bs&Dr, Key: Am)” from the song menu (bass and drums also included strings this time, though not the arpeggiated guitar of the full version). The track turned out to be the same chords as Gary Moore’s “Still Got the Blues,” one of my favorite progressions. The eBand set me up with a “Stack Lead” sound that melded nicely with the track. As you change backing tracks, this Boss device will automatically change to whatever the programmers deemed to be an appropriate amp and effects combination. For the most part I found myself agreeing, but if you have one particular sound that you wish to use with all the tracks, you can shut off this “patch sync” effect and that sound will remain when you switch songs.
Back at my power ballad, I tuned up using the built-in tuner, hit play, adjusted my guitar level to sit properly in the track, and began jamming along. It was then that I encountered eBand’s major flaw: forty minutes later I hadn’t stopped playing! My recommendation to Boss: please put a 20-minute time limit on this thing, after which it shuts off for five minutes, thus avoiding carpal tunnel syndrome. This thing is too much fun. I have been a fan of COSM amp modeling since I got my Roland Micro Cube. You can argue about the accuracy of the modeling (I find it pretty darn good), but these amps and effects definitely “feel” good to play. The eBand’s speakers will never be extolled by audiophiles, but they are good enough to avoid ear fatigue and provide inspiring sound. Plugging in headphones improved the sound further, revealing the quality of both my guitar sound and the backing tracks.
I wanted to try jamming along with Robben Ford’s version of “Revelation,” so I loaded it onto a USB stick and plugged the stick into eBand, where it instantly showed up in the song playlist. Using the Center Cancel function to remove Robben’s guitar part, I found that it worked about as well as most center cancel effects, which is to say that it lowered the lead guitar a bit but didn’t remove it entirely. According to the manufacturer, the Center Cancel is adjustable, ulike many others; it can be finely tuned in degrees of left, right and center, with high, mid and low frequency ranges to help find and extract parts. The Speed control was more useful. I combined it with the A-B control, which allowed me to punch in at the beginning of one of Ford’s bebop-inflected licks, punch out at the end, then cycle just that lick while slowing it down 50 percent. It sounded a bit “underwater” but was clear enough to master the lick—at 50 percent of Robben’s speed, anyway. The eBand also allows you to shift the pitch with or without changing the tempo, either in half steps, to practice in other keys, or fine-tuned to match records that have been slightly sped up or slowed down.
Plugging it into my Mac with a USB cable, I easily loaded the proper driver from the unit’s SD card so that I could use the Boss device as an interface with Ableton Live. The eBand allows you to record either the whole track with your playing, just the track, or just your guitar with or without effects, directly into any DAW except Pro Tools. You can also reamp clean guitar tracks through eBand’s effect and amp models.
The Final Mojo
Full disclosure: I am not big on practicing; the sound of a metronome drives me crazy in about five minutes. With the Boss eBand, I could improve my playing by jamming with a tireless rhythm section possessed of perfect time. It is hard to think of a groove you might need that you won’t find here. Progression-wise, I missed the inclusion of classic “I Got Rhythm” changes in the jazz section, but not to worry. In describing everything else that it offers, I forgot to mention that you can always record your own changes, licks, and solos right into eBand with a touch of the record button. Just remember to take a break before your fingers fall off.
Daily News
Gibson Releases Joan Jett Blackheart Melody Maker
by Premier Guitar
Nashville, TN (March 18, 2010) -- In anticipation of the forthcoming film release The Runaways and her recent release of the Joan Jett and The Blackhearts Greatest Hits album, Gibson Guitar has announced the launch of the Joan Jett “Blackheart” Melody Maker. Gibson released a white Joan Jett signature Melody Maker in 2008. The “Blackheart” Melody Maker will be available beginning March 19th.
“I needed a black guitar. This guitar has the same body and the neck runs smooth as silk, “ said Joan Jett. “ I wanted some flash of color, so the fret inlays are bright red, and the 12th fret is marked by mother of pearl inlay hearts lying end to end. I am using it onstage now, and it sounds ferocious. But of course, she can play gentle as well. Just like the earlier white Joan Jett Gibson model, it is a great guitar for anybody.”
The guitar features a mahogany body and neck with an ebony fingerboard. The single pickup is a Zebra Coil Burst Bucker 3. MSRP $1533.
For more information:
Gibson
“I needed a black guitar. This guitar has the same body and the neck runs smooth as silk, “ said Joan Jett. “ I wanted some flash of color, so the fret inlays are bright red, and the 12th fret is marked by mother of pearl inlay hearts lying end to end. I am using it onstage now, and it sounds ferocious. But of course, she can play gentle as well. Just like the earlier white Joan Jett Gibson model, it is a great guitar for anybody.”
The guitar features a mahogany body and neck with an ebony fingerboard. The single pickup is a Zebra Coil Burst Bucker 3. MSRP $1533.
For more information:
Gibson
EMG 81-X and 85-X Humbucker Giveaway
This week we're giving away a pair of EMG's X-Series humbuckers, an 81-X and 85-X.
The 81X provides increased headroom giving the voicing an organic and open tone while still maintaining the clarity and response that EMG’s are renowned for. Utilizing powerful ceramic magnets and close aperture coils and powered by a newly designed preamp, the 81X shines with detailed intensity, incredible amounts of high end cut and fluid sustain. Traditionally used in the bridge position, this pickup will make your leads slice right through even the densest mix like a hot knife. When used in both positions the sound can only be described as blistering.
The 85X provides increased headroom giving the voicing an organic and open tone while still maintaining the clarity and response that EMG’s are renowned for. Featuring close aperture coils loaded with Alnico V magnets and powered by a newly designed preamp, the 85X is a powerful pickup with exceptional tone and versatility across the spectrum. The Alnico magnets give a warm growl and velvet lead tones that enable you to play the deepest of blues to the most extreme metal. Try it in the bridge position for exceptional smoothness and soul.
Total value approx $300.
Compete to Play at Eric Clapton's Crossroads 2010 Enter for your chance to play on the Ernie Ball Village Stage, brought to you by T-Mobile MyTouch 3G
Chicago, IL (March 16, 2010) -- Beginning yesterday, unsigned musicians can enter the Ernie Ball Play Crossroads contest at playcrossroads.com to compete for a chance to perform live on the Ernie Ball Village Stage at Eric Clapton’s Crossroads Guitar Festival 2010 (presented by T-Mobile myTouch 3G), Saturday, June 26 at Toyota Park in Chicago.
The day-long festival benefits the Crossroads Centre Antigua and will feature music from the legendary Eric Clapton and friends, including The Allman Brothers Band, BB King, Buddy Guy, Jeff Beck, John Mayer, Sheryl Crow, Steve Winwood, Vince Gill, ZZ Top and more.
To enter the contest—also hosted by Ernie Ball partners Premier Guitar, Guitar Center and Reverb Nation—musicians register at playcrossroads.com by creating a profile including 1-5 MP3 files, photos and a bio. The winning artist or band will receive roundtrip airfare to Chicago, hotel and a 30-minute performance slot on the Ernie Ball Village Stage, which will also feature inspirational master-class sessions from Joe Bonamassa, Robert Randolph, and many more. The winning artist will also receive a full Ernie Ball Music Man endorsement, a feature in Premier Guitar and prizes from Guitar Center.
“We're tremendously honored to be associated with Eric Clapton's Crossroads Guitar Festival. Supporting the Crossroads Centre, in addition to Eric Clapton's charitable efforts is very important to Ernie Ball,” notes Brian Ball of Ernie Ball Inc. “Offering an unsigned band this tremendous opportunity to play live alongside the collection of legendary guitar players is also something we're very excited about.”
Fans have the opportunity to help choose the winner by voting for their favorite artists at playcrossroads.com. The 500 bands/artists with the most votes will be reviewed by a panel of judges comprised of Ernie Ball representatives and contest sponsors. The judges will select the winning artist/band based on criteria including musicianship, originality, authenticity and songwriting.
The winner of the first Ernie Ball Play Crossroads contest—who performed at the last Crossroads Guitar Festival, held in 2007—was then 16-year-old prodigy Tyler Dow Bryant. Bryant went on to work with Paul Simon, Edie Brickell, Chris Duarte, Brent Rowan, Albert Lee, Steve Lukather, Don and Donnie Nelson, Sean Neff, Wes Jeans, Alan Haynes, Dickey Betts and many others.
For more information:
playcrossroads.com
The day-long festival benefits the Crossroads Centre Antigua and will feature music from the legendary Eric Clapton and friends, including The Allman Brothers Band, BB King, Buddy Guy, Jeff Beck, John Mayer, Sheryl Crow, Steve Winwood, Vince Gill, ZZ Top and more.
To enter the contest—also hosted by Ernie Ball partners Premier Guitar, Guitar Center and Reverb Nation—musicians register at playcrossroads.com by creating a profile including 1-5 MP3 files, photos and a bio. The winning artist or band will receive roundtrip airfare to Chicago, hotel and a 30-minute performance slot on the Ernie Ball Village Stage, which will also feature inspirational master-class sessions from Joe Bonamassa, Robert Randolph, and many more. The winning artist will also receive a full Ernie Ball Music Man endorsement, a feature in Premier Guitar and prizes from Guitar Center.
“We're tremendously honored to be associated with Eric Clapton's Crossroads Guitar Festival. Supporting the Crossroads Centre, in addition to Eric Clapton's charitable efforts is very important to Ernie Ball,” notes Brian Ball of Ernie Ball Inc. “Offering an unsigned band this tremendous opportunity to play live alongside the collection of legendary guitar players is also something we're very excited about.”
Fans have the opportunity to help choose the winner by voting for their favorite artists at playcrossroads.com. The 500 bands/artists with the most votes will be reviewed by a panel of judges comprised of Ernie Ball representatives and contest sponsors. The judges will select the winning artist/band based on criteria including musicianship, originality, authenticity and songwriting.
The winner of the first Ernie Ball Play Crossroads contest—who performed at the last Crossroads Guitar Festival, held in 2007—was then 16-year-old prodigy Tyler Dow Bryant. Bryant went on to work with Paul Simon, Edie Brickell, Chris Duarte, Brent Rowan, Albert Lee, Steve Lukather, Don and Donnie Nelson, Sean Neff, Wes Jeans, Alan Haynes, Dickey Betts and many others.
For more information:
playcrossroads.com
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