Electro Harmonix Slammi Plus ...

2.560,-

EH SLAMMI PLUS Polyphonic Pitch Shifter Pedal This polyphonic powerhouse flawlessly transposes your pitch in two different directions over a +/- 3 octave range: transpose up, down or both, simultaneously! Staggering whammy effects and dive bombs, bends, harmonies, cross-fades between your dry and transposed sounds, cocked pitch shifting... this pedal does it all. The 11-position Shift switch selects the maximum transposition starting with D (Detune), a shift of 17 cents that creates a chorus or doubling effect. This table details the pitch effect relative to the original note. Specifications: The Dual setting outputs two pitch-shifted signals. The first follows the Shift knob as if in UP mode. The second transposed signal depends on whether the Slammi Plus is set to Pitch or X-Fade. In Pitch mode the secondary shifted signal bends at the same rate as the primary signal. The primary and secondary intervals are as follows: When in X-Fade mode, the secondary signal is set by the Pitch Mix knob and does not bend. The interval choices are in half-step increments up to +/-1 octave. The volume of the secondary signal decreases by sweeping the pedal from heel to toe. Specifications: Flawless, glitch-free transposing over a +/- three octave range Three shift modes: up, down and dual Dual pitch shifting mode generates two separate pitch shift intervals simultaneously X-Fade function where the pitch shift interval is fixed (does not bend) and the foot pedal cross-fades between your dry note and pitch shifted note or cross-fades from one pitch shifted interval to another Fully polyphonic all the time Blend control that lets you fine tune the wet/dry mix

KMA GEMINUS Stereo True ...

2.562,-

​KMA Machines GEMINUS Stereo True Double Tracker The first outing for KMA’s unique and custom AI driven True Double Tracker technology was in the ENDGAME, our powerhouse end-of-chain pedal. We designed our dead-simple-to-use, TDT Algorithm in ENDGAME to be as authentic to the doubling recording process as possible, but we realise that not everybody needs all the bells and whistles of such an all-encompassing device. However, the processing power requirements required for TDT meant a simpler device wasn’t yet possible. But as demand from the community grew, our team worked hard to squeeze it down and make it happen. So, meet GEMINUS - all of KMA’s True Double Tracker goodness in a compact pedal that’s suitable for any board. Whether playing live or recording with a single instrument, GEMINUS is the perfect solution for adding “fatness” and “width” to your performances - it really does feel like you are playing the same riff twice! Main Features • Stereo True-Double-Tracker (Proprietary Doubler) pedal • Width Knob, provides control over the stereo field • Stereo or Mono connections on TRS jacks • Flexible signal routing (selectable Stereo or Mono In/Out) • Time, Pitch and Level controls, for precise TDT tailoring • Compact enclosure with top-mounted jacks - will fit into any setup • Switchable True/Buffered Bypass* • ‘Silent’ relay-based soft switching • Premium analog electronics • 32 Bit internal processing • Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 100 mA current draw, not included) Enabled via the soft bypass footswitch, GEMINUS accurately replicates the minor differences that exist between two separate recordings. The TDT WIDTH control spreads your doubled tracks, anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split. KMA has carried out extensive research on how to make double tracking sound exactly how we think it should perform. In the process, we’ve spent thousands of engineering hours working on our own proprietary technology, even developing our own custom neural network AI with onset detection in the process for our algorithms. The mode for the TRS input and output jacks is selected by the toggle switch. You can choose between stereo in and out, mono in and stereo out or mono in to mono out, so no matter your signal and tonal desires, GEMINUS will fit into your rig with ease. For the most accurate performance (and just like the real double tracking scenario in the studio), our custom True Double Tracker algorithm should ideally be fed with a mono signal. Obviously if you are trying to emulate what traditionally happens in the studio, you wouldn’t normally double up a stereo source. Having said that, our TDT algorithm has been optimised to still have a useful and very pleasing widening effect on stereo input signals, just take care that using too much doubling on some stereo sources may cause your carefully crafted reverb, delay or other modulation effects to turn to mush or even add phase issues. To help tailor the Doubling to your own taste, the TIME control changes the timing range of the doubled AI-driven onset detection. Essentially, it’s all about the tightness of the doubled signal to fit differing playing styles. Variable from an extra tight mode, that’s perfect for extra fast riffs, to a looser timing that can just the right amount of density to more open playing styles, this control is a powerful weapon to make your riffs fit your musical goals. The centre detent is GEMINUS’ default factory position, but turning the knob left will give a tighter feel. Crank the knob to the right and the doubled signal becomes much more relaxed. While the LEVEL control affects the balance of the doubled signal against the original source. Useful for those times where you might want maximum width, but a little less (or even more) of the sound to be doubled against the original. Centre detent of the knob is GEMINUS’ default factory position. There’s some clever panning stuff going on under the hood here too, so neither the doubled or original signal is louder on one side or the other, when in Stereo. Finally, the new PITCH selector switch can add some additional movement to your doubled signal, extending the usefulness of GEMINUS beyond standard doubling. When the switch is at the centre default position (-) there is no pitch adjustment, (~) adds some subtle modulation, while (≈) adds even more wobble. In this mode, it doesn’t mean that your second guitarist will sound like they are off on a quest for enlightenment all on their own (!), it is just super handy for those times when you want more chaos and instability in your ensemble. To top it all off, we’ve added a switchable real True/Buffered bypass and ‘silent’ relay-based soft switching. When we were testing our new pedal platform, we really loved the clarity and signal integrity of KMA’s Buffered Bypass, plus there are zero clicks and pops when switching in this mode, which is why it is the recommended and default mode on shipping. However, we know some players have some special devices like extra fussy vintage fuzz pedals and the like, so we added the ability to select True Bypass mode via an internal dip switch (*see the Quick Start Guide for more details). Phew, seems that there’s quite a lot going inside GEMINUS then. We believe our True Double-Tracker in this pedal is the best sounding, yet easiest to use doubler you’ll ever play - period. Go forth and multiply your riffs!

KMA Tyler Deluxe The Advanced ...

3.121,-

KMA Machines TYLER DELUXE The Advanced Freq Splitter Do you remember the sounds coming from the woods, as a rough and towering man was wielding his frequency-splitting axe? Driven by nature’s most primordial force, that man then dropped his simple axe, picked up his power saw and evolved into something more. Something bigger, stronger and more versatile. Standing tall is TYLER DELUXE - the ultimate frequency-selective signal-splitting tool, ideal for developing new sounds and leading your creativity down new inspiring parallel paths.  Main Features:  • Two-Channel Signal Splitter - Variable 12 dB/oct. Low/High-Pass • Fully-Isolated and Transformer-based FX Loop Sends • Variable Clean Blend and Mix controls - for the perfect blend of highs and lows • Loop-dedicated and main Phase-Inverters • Relay-based soft-switching • Separate Buffered FX-Loops for each filter • Active Level Control - up to12 dB boost • Made in Berlin, Germany • Powered by 9 V PSU         (9 V DC, centre -, 2.1mm, ~100 mA max. current draw) KMA Machine’s TYLER (active and variable two channel crossover/signal splitter) has successfully found its place on many bass and guitar players’ boards around the world, helping them refine and define their tone. However never to stand still, we at KMA Machines decided to step up the game and create a more advanced, versatile and flexible solution, based on the great feedback from our users. The heart of the pedal is still the same essential filter sections, which splits your signal into different loops with HIGH PASS and LOW PASS paths (both filters have a 12 dB/oct. roll-off with a variable cut-off frequency from 20 Hz to 3 kHz). The rest of the vital tonal organs have had a thorough upgrade, which has resulted in an improved noise floor too. So, let’s dive into everything that makes this pedal DELUXE. Since the original TYLER was also used as an advanced AB/Y box by many, it was found that ground loops could occur - no more with TYLER DELUXE! Both SENDs are now transformer coupled (with TRIAD Magnetics) to give you a nice and warm saturation, while avoiding ground-loops (internal slide-switched ground-lift). To be prepared for almost every situation and every pedal, both loops also got their own phase inversion switch (+/-) to get rid of potential unwanted phase cancelation. The next new must-have feature is there to ensure the transparency of your setup and because we know it's important to you and to us, we added the good old CLEAN blend.  So far so good, but the deluxe delights don’t stop here! A master phase-switch ensures a fixed and reliable interaction with your set filter-frequency in every situation, no matter if you either have a loop engaged or not. But wait, for all of you who wants to follow TYLER's evolution, we added another claimed feature. The LP-CUT and HP-CUT switches will now mute your loops when bypassed, which will give you tons of new options to be creative, by only using the engaged loops without having clean artefacts pass through when disengaging one of the loops.  Modern times brings modern needs, so TYLER DELUXE is now equipped with relay-based soft-switches, an internal step-up to increase the headroom for hotter input signals and low-noise op-amps to improve the overall sound-quality and usability.  Some fun examples of use: Bass players want to retain their low end while using their favourite fuzz or dirt pedal. Insert your dirt box in the high-pass FX-Loop and adjust the cut-off frequency of the High and Low Pass to your needs. Dial in your preferred ratio of those Low and High Pass signals, engage the HP LOOP footswitch and you will never turn off TYLER DELUXE again! You can also insert different modulation pedals, for example insert a lush phaser for the lows and a nice shimmering delay for the highs and TYLER DELUXE will make it sound like two different guitars are playing at once. Mix up your modulation pedals with any of your dirt pedals, for a very pronounced and punchy sound all coming from one amp.  If there ever was a Swiss army knife for your tone, then TYLER DELUXE must surely be it. So, fire up your frequency saw and start defining your own unique sonic path.

Meris Ottobit Jr. Bitcrusher ...

4.295,-

Ottobit Jr. Arcade Dreams Reborn From an era when visiting the arcade meant silicon-defined-sonics were burned into so many kids’ memories (big and small alike), the Meris Ottobit Jr. is inspired by the world of vintage gaming consoles, bringing those sounds directly to your pedalboard. So what exactly is Ottobit Jr.? Well, it’s a bitcrusher, but it would be an insult to just call it that. It’s also an ultra-musical sequencer, stutter and filter effect, but it’s not JUST that either. It’s the sum of all of these parts that make the Ottobit Jr. what it is: a maniacal side-scrolling, coin-collecting, power-glove-punching-machine with a host of earth-shattering sounds that’ll melt your face right off! Heck, the pedal is so unique and innovative that it deserves to have a verb all of its own. So plug in, press play and Ottobit away! Ottobit Jr. takes everything that made the original Meris Ottobit 500-series unit such an innovative studio tool and crams it down into a rugged and roadworthy pedal suited for any rig, be it guitar, bass or synth. Basically, if you have a creative bone in your body and you love designing crazy and unique sounds unlike anything else, then the Ottobit Jr is for you! Ottobit Jr. sports a fuzzy bitcrusher with variable sample rate, triggered stutter effects, a multi-mode sequencer module and a mind-blowing low-pass filter that sounds just as good as any analog synth filter out there. All of this is syncable and controllable via tap-tempo, expression and/or midi. But most important of all, Ottobit Jr. always stays super reactive to your playing, seeing you jump from fiery fuzz tones to classic arcade bleeps and bloops, only to end up in a barrage of 6-step sequencing and glitchy stutter effects without breaking a sweat and without ever sounding unmusical. The Meris Ottobit Jr. is built to Meris’ boutique standards in Los Angeles, California, USA. It features an analogue signal path and 24-bit AD/DA with 32-bit floating point DSP to ensure crystal clear sounds with loads of headroom. Features: Variable Sample Rate and Bit Crushing Vintage Synth inspired Low-Pass Filter Triggered Stutter Effects Sequencer module for Pitch, Filter or Decimation pattern sequencing Tap Tempo for Sequencer and Stutter Stereo input and output Switchable input/output headroom level for Guitar, Synthesizer or Line levels Expression pedal control over all parameters simultaneously Presets available via external 4-Preset switch or MIDI MIDI in/out over TRS via the EXP jack Remote Tap Tempo Switch capable via the EXP jack Premium and hi end analog signal path Designed and Built in Los Angeles, California U.S.A. Standard 9 V power (9 V DC, centre -, 2.1 mm, ~150 mA current draw)

Meris Ottobit X Bitcrusher ...

8.450,-

Meris Ottobit X Modular Degradation and Texture Engine Meris’ vintage gaming inspired devices, Ottobit Jr. and Ottobit, were always designed to give musicians and sound designers tools to sculpt their sonics, with tones inspired by vintage gaming consoles. The new Ottobit X pedal takes this concept even further, in an even more advanced tool that’s been expanded with more lo-fi sounds reminiscent of the 80s. Featuring a brand-new Glitch category, the Ottobit X pushes real-time manipulation even further than its predecessors. Parameters include Grain Freeze, with enhanced response time and independent pitch control; a fully updated stereo version of the classic Ottobit Jr. Stutter with independent playback speed and subdivision control; Push Looper and Wikki Wikki (one button loopers with expressive real-time speed control); Tape Stop for dramatic slowdown effects; and Stutter Step, a sequenced stutter engine with unique triggering and timing behaviour. Pitch processing is equally deep, with 5 pitch shifting modes including the new Otto Tune with integrated pitch correction. The Modulation category features a pitch-tracked AM/FM ring modulator from the 500 Series Ottobit. New sonic processors include a frequency shifter capable of everything from subtle enharmonic movement to aggressive metallic textures, a sequenced tremolo with deep per step subdivision control, and Vibe, a lush watery phase shifter with adjustable LFO bias for dialling in low end thump. A modular degradation and texture engine, packed with vintage nostalgia, Ottobit X is your 80s dream, reborn. Main Features: • Full stereo modular degradation and texture engine with vintage 80s nostalgia • 5 Pitch Types: Poly Chroma, Otto Tune, Micro Tune, Mono Chroma, Lo-Fi • 5 Modulation Types: Ring Mod, Div Trem, Tape Mod, Freq Shift, Otto Vibe • 4 Preamp Types: Volume Pedal, Tube, Vinyl and Wavefold • Highly musical advanced bit crush sample reducer engine that goes from 32bit down to 1bit • 6 Glitch Types: Grain Freeze, Stutter, 2 (1 button loopers): Push Loop and Wikki Wikki (vinyl scratching) • Tape Stop and Stutter Step • 2 new lo-fi focused AMBIENCE algorithms - VHS Delay and VHS Reverb • 3 Filter Types: Ladder, State Variable and Otto Tron • Expressive Hold Modifier Switch for on the fly control • 99 Preset Locations in 33 Banks with Artist Presets • Favourite Preset Bank for instant access to your 3 favourite presets • Instant Access Tuner with configurable Reference and Output mode • Deep Modifier Section lets you route control signals to processing parameters • Digitally controlled Analog mix bus • Stereo input and output with separate jacks for each • Switchable input/output headroom level for Instrument or Synthesizer / Line levels • MIDI In and Out over standard MIDI DIN Jacks • Assignable Expression Pedal control for multiple parameters simultaneously • Dedicated Expression Pedal Jack • MIDI implementation for CC, Presets and Beat clock synchronization • Advanced ARM Processor • Premium analog signal path and 24-bit AD/DA w/32-bit floating-point DSP • Premium Analog Devices JFET input section • Designed and built in California, U.S.A. • Powered by standard 9 V power (9 V DC, centre -, 2.1mm, ~ 280 mA current draw - not supplied)

Old Blood Noise FLOAT Dual ...

3.904,-

Old Blood Noise Endeavors FLOAT Dual Moving Filter A Re-envisioning of the Filter Effect Turning its predilection for parallel signals toward the world of filters and widening out to full stereo, Old Blood Noise Endeavors unveils its first digitally-controlled analog pedal. Float boasts two independently controllable filters and copious capabilities for motion. Utilising the two filters in tandem can create stereo movement, linked reactive elements, and modulations that approach harmonic tremolo and phaser, as well as classic filter sounds. Main Features: • Dual Moving Filter effects pedal • Two independent filters, each with control over filter type, cutoff frequency,   LFO rate, envelope sensitivity, LFO shape, resonance and volume • True stereo, parallel mono, or series mono operation via top-mounted jacks • Min/max toggle for precise sculpting of LFO and envelope range • Sync toggle to link the LFO or envelope elements of Filter 1 to Filter 2 • Expression jack to externally control Cut-off or Rate for each filter • Soft touch switching with true relay bypass • Hidden settings for LFO phase and envelope speed • Pedalboard friendly size • Made in the USA • Powered by 9V DC PSU           (centre -, 2,1 mm, ~100 mA current draw) Filters... could we improve upon a pedal genre we’d never participated in? Should we? Of course, we knew all about those sharp quacks and the smooth wows, plus the synth players among us knew the resonant sweeps. But, as our friends kept telling us, the slow dual motions, the controls that go a little more left than you expect, the parallel undulations and surely other corners were all left unexplored. So, turning our predilection for parallel signals toward the world of filters and widening out to full stereo, say hi to Float, our new Dual Moving Filter pedal. As OBNE’s first digitally-controlled analog pedal, Float boasts two independently controllable filters and copious capabilities for motion. Utilising the two filters in tandem can create stereo movement, linked reactive elements and otherworldly psychedelic modulations. The two independent filters can be set to either low pass, band pass or high pass. The core of each filter is its Cutoff Frequency, which can stay still or move via either its 6 different LFO shapes or through its dynamic Envelope triggering. The envelope sections can unleash quacky auto-wahs, shooting sonic laser beams or organically rising and falling filter landscapes - all triggered by your playing. While the LFOs lets Float become a mind-bending modulation device that can become everything from a phaser, a harmonic tremolo, a choppy or bubbly step-filter or an automated synth-like sweeper. However, skip the Modulation or envelope sections and the dual sliders come into play. This allows you to use Float as a dual-band EQ for subtle to extreme tone shaping, as a manual filter for on-the-fly futuristic filter sweeps or even for old-school wah-tones. Each filter also sports a resonance control, allowing you to unearth velvety smooth filters, vocal-like formants, screaming sonic squelches and anything in between. All of this is pretty familiar, but also pretty sweet. Like an amalgamation of all things filtery and good. But where things start to get really different and really fun is when you mess with the Sync and Routing of the two filters. By flicking that tiny toggle labelled Sync to On, the two filters will move like tonal twins - locked in, precise and uniform. This lets you create robotic sequencer-like textures, trippy dual modulations or ultra-long, yet perfectly timed, filter manoeuvres. You can also set it to Off and have them completely free-rolling for organically weaving textures or full-on filter cacophonies. In addition, the filters can be run in either parallel mono, series mono or stereo for all kinds of refined dual movements, cascading filter chaos or lush and dreamy stereo sweeps. To round off this veritable filter playground, we’ve added an expression in port, that lets you take hands-free control over either the cut-off frequency or LFO Rate, allowing you to keep your fluttery filter modulation as expressive as the music you play. So, that’s Float... or that’s the essence of Float. We’re sure you’ll unlock sounds from this thing we never knew it was capable of, because it does a lot of good, weird, wild, tame, ugly and absolutely stunning stereo stuff. Float on, friends!

Old Blood Noise Parting Basic ...

4.299,-

Parting - Basic White Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 4 Colourways - Basic/White, Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

Old Blood Noise Parting ...

4.299,-

Parting Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

Old Blood Noise Parting ...

4.299,-

Parting Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

Old Blood Noise Parting ...

4.299,-

Parting Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

Old Blood Noise Setback ...

3.345,-

Old Blood Noise Endeavors - Setback The Ultimate Reverse Pedal Building on their legacy of backwards sounds, as shown in old favourites like Rever, Minim and BL-44, Old Blood Noise Endeavors have created their most in-depth and feature rich reverse pedal yet, the Setback. Setback focuses exclusively on the magical texture of sounds in reverse, without anything else getting in the way. With a streamlined control set, the user controls sample rate, delay time and playback speed, creating pitch shift effects and much more, with all the utilitarian bells and whistles of the modern era included: stereo in and out, presets, full MIDI control and so on. From raging robot-like ring-mod sounds, shimmering harmonized pitch effects, classic reverse delays and all the way to brooding, crumbling lo-fi textures. Setback delivers it all and then some, making it the perfect companion for everything from Psychedelia, Shoegaze, Indie, Ambient and beyond. We live life forwards, but can only fully understand it backwards, hence Setback’s wealth of unique reverse effects will surely deliver inspiration, meaning and depth to your compositions. Main Features: • Reverse Effect Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Controls for:           o Clock (signal fidelity)           o Div (tempo subdivisions)           o Speed (playback speed for quantised pitch shift effects)           o Mix (dry/wet blend) • Sample rate from 49 kHz down to 500 Hz • Aux footswitch for tap tempo, runaway feedback, or preset switching • Alt controls for gentle volume adjustment or setting the time without tapping or MIDI clocking • Reverse delay times from ring-mod fast down to 24 seconds at lowest clock setting • Analog Dry-Through • Expression and MIDI control over all parameters • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included)

Orange OMEC Teleport Audio ...

1.560,-

OMEC Teleport Ett ljudinterface för live eller studiobruk i pedalform. Få med dig vilka pluggar du vill på ditt pedalbord An audio interface for the studio and gig The OMEC Teleport interface is a universal connection device (IOS, Android, Mac, PC) without any specific drivers or software requirements. It features high quality ADC/DAC converters – through a USB B connector – housed in a small effect pedal enclosure. The Teleport allows you to convert both analog audio signals (an instrument for example) to digital to be processed with the many applications available. Additionally, the Teleport gives you the ability to convert digital audio signals to analogue (through mixers, D.I. boxes, amplifiers, etc.).   With this versatility the Teleport can be used for a wide range of applications: Musicians that want to play, record, mix or process their sound, with the autonomy provided by mobile devices; Bluetooth connected musicians, like keyboard players or DJs employing the same devices for their sessions; even the amateur music lover who wants to convert music stored on their devices to analogue with renewed quality. _____ Information Effekt-typ Audiointerface Analog/Digital Both Chassi Aluminum Strömförs. 9v Mått 9,2 * 3,7 * 4,8cm Länkar Omec hemsida">Omec hemsida Youtube video">Youtube video  

Red Panda Bitmap 2 Bitcrusher ...

4.128,-

Red Panda Bitmap 2 Bitcrushing Fractional Bit Reduction and Sample Rate Modulation The Bitmap 2 is a bitcrusher with fractional bit reduction and sample rate modulation. The Bitmap 2 adds waveshaping, wavefolding, and a window comparator for extreme digital distortion to your arsenal of tones. A drive control handles everything from single coil guitars to synthesizers, with +8 dBu maximum signal level and enough gain to sound like an overdriven mixer channel. Modulation and envelope control create dynamic, responsive distortion and digital artifacts. The Bitmap 2 is tuned to provide maximum sustain without sputtering on staccato notes. Less extreme settings add layers of nonlinearities that interact in subtle ways, giving you the warmth and grit of 8- and 12-bit samplers. Sample rate reduction turns your guitar into 8-bit video game sounds or twists scales into inharmonic melodies. Sample rate modulation adds subtle motion or morphs your guitar into entirely new textures. The Bitmap 2 works with guitar, bass, synthesizers, drum machines, and other instruments or line level sources. Main Features: • Bitcrusher pedal with fractional bit reduction and sample rate modulation • Fractional bit reduction from 24-bits down to 1-bit • Sampling rate reduction from 48 kHz down to 110 Hz • Sample-rate modulation with triangle, square, and random waveforms • Adjustable wavefolding and waveshaping functions • Mix control to maintain bass or add subtle crushing • Envelope control over sampling rate or mix • Drive control to accommodate single or dual coil pickups and line-level signals • 4-pole lowpass filter • Stereo input/output (TRS) • Soft touch bypass (momentary or latching), user replaceable • Aux. footswitch assignable to tap tempo or preset selection • Assignable expression pedal, remote switch, remote tap, or MIDI port • Additional parameters via MIDI (USB or TRS) • MIDI clock synchronization • Presets (4 on front, 127 via MIDI) • Web-based editor for editing presets and accessing hidden parameter • Designed and assembled in USA • Powered by a regular 9V DC PSU      (centre -, 2,1 mm, 250 mA current draw)

Red Panda Radius Stereo Ring ...

4.350,-

Red Panda Radius Stereo Ring Modulator / Frequency Shifter The Radius is a ring modulator and frequency shifter with pitch tracking and an advanced LFO. It is designed around a novel ‘eight-quadrant multiplier’ algorithm that smoothly transitions from ring modulation to frequency shifting and allows different frequency ratios for the upper and lower tones. Radius puts complex harmonic structures, bell-like tones, metallic textures, frequency shifting, soft tremolo, and bubbly phaser sounds at your fingertips. Pitch tracking, a push-to-tune footswitch, and picking dynamics make the Radius responsive and predictable on stage. Hold the left footswitch and play a note to tune the carrier oscillator to that note. Pitch tracking maintains the pitch ratio as you play up and down the scale, or tracks by a ratio (or inverse) for more dynamic sounds. An expression pedal can be assigned to any combination of knobs. Radius goes far beyond traditional ring modulation. With precise control over the balance and frequency ratios of both sidebands, you’ll have more advanced control than with any ring mod that has come before.  Main Features: • Stereo ring modulator and frequency shifter effects pedal • Continuous mix between ring modulation and frequency shifting • Selectable 2X frequency ratios for upper and lower sidebands • Frequency shifting with feedback • Three carrier frequency ranges (low, high, quantized) • Carrier frequency pitch tracking (monophonic, +/- 100%) • Push-to-tune carrier oscillator • MIDI-playable carrier oscillator • Multi-waveform LFO (triangle, square, random, intelligent random, X mod +/-) • Step modulator with 1-8 steps, programmable via front panel • Tap tempo and MIDI clock sync • Envelope follower • Envelope-triggered LFO (one-shot ramp, pulse, random, step mod) • Presets (4 on board, 100 via MIDI) • Expression pedal assignable to any combination of knobs / parameters • Configurable AUX switch (tap, tune, preset, LFO) • USB and TRS MIDI • Stereo input/output (TRS) • Full MIDI implementation • 96 kHz sampling rate • Web editor with preset upload/download • User-installable firmware updates (USB) • Designed and assembled in USA • Powered by a regular 9V DC PSU       (centre -, 2,1 mm, 250 mA current draw) A ring modulator multiplies two signal signals together to create new frequencies that are the sum and difference of the input frequencies. One signal is your instrument, and the other is an internal oscillator.  The Radius can double the sum or difference frequency ratios and adjust their relative levels, unlocking a spectrum of timbres beyond traditional ring modulation. It has an advanced LFO with triangle, square, random waveforms and an eight-step sequencer, all of which can be envelope triggered. The envelope follower makes it responsive to playing dynamics, and two ‘X’ modulation waveforms create sweeping spectral changes. Well-spaced controls and stereo input/output make the Radius perfect for sound design, synths, and creative mixing. A full MIDI implementation allows you to sync to MIDI clock, sequence parameter changes, and play the carrier oscillator from a keyboard. This is a musical ring modulator and frequency shifter that transforms the timbre of your instrument in new ways. With deep features and intuitive control, Radius modernizes classic electronic techniques for the future.

SolidGoldFX NU-33 Vinyl ...

3.009,-

There are very few things that we enjoy more around here than guitars and records. What could be more satisfying than putting your mitts on your favorite instrument or spinning a record and watching the needle drop on a limited color pressing? We love vintage guitars for very much the same reasons we love listening to vinyl. While they might not play as great as a shiny new high-end, precision built custom axe, their magic lies in their flaws. Every ding and scrape tells a story, every little bit of player wear and lacquer checking lends a feeling and leads to inspiration. Same goes for records.... a little bit of noise and static pops add ambiance, allowing the listener to get lost in the music while mesmerized by the rotating platter.... its not so much about fidelity but rather warmth and texture to create a mood. We set out to combine our love for guitars with our love for records and the result is the NU-33. Named after the Greek letter symbolizing spatial frequency and the RPMs of a turntable, the NU-33 is a lo-fi Vinyl modulator like no other. Designed to capture the vibe of some our favorite records such as a particularly worn out copy of Black Sabbath's Master of Reality and an original pressing of Led Zeppelin I with just the perfect amount of static, the NU-33 serves up chorus and vibrato mixed with tastefully engineered hiss, crackle and pops to give your riffs just the right touch of vintage flair. The controls allow you to choose how much or how little flutter to add to your tone, color it with 2 additional filter modes, shape it with 3 different waveforms and dial in the mix with an analog blend; you can easily make this pedal sound as pretty and lush or as dark and sombre as you please. Once we were finally happy with the way it sounded, it was time to pepper it with all the fun bits! Crammed in this little box is a manual mode to create a doubler ranging from 15ms to 50ms, an internally assignable expression pedal/CV input, multi-function foot switches for tap tempo and speed ramping, top jacks, relay based true bypass switching and a hold-to-skip function with 3 selectable speed presets to create a unique sonic stutter. Well, with all that said, and whole lotta painstaking work leading up to this point, the NU-33 is finally here and all that's left to do is to get lost in its immersive waves and textures.

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