Produsent

2.226,-

CHIEF DISRUPTOR Fundamental Fuzz/Distortion “Gazing from afar at the downfall of archaic sonic structures, a hooded being sat calmly on the cornerstone of legacy. For generations, instead of asking what the present actually screamed for, people had been blinded by the achievements of the past. That was before the CHIEF DISRUPTOR came along! All it took was the push of a single handle to tear down the ancient landmarks for good, not even passing a flinch as the explosion happened. Instead, a feeling of hope began to saturate the entire being, manifesting in an endlessly sustaining smile on their face. It’s finally time for a new era of crushing tones. It’s time for the age of the CHIEF DISRUPTOR!” Welcome to a new era of the most iconic fuzz/distortion sound the world has ever known. You know, that epically huge and super saturated tone (some might call it big and muffy) that has defined the signature sound of so many artists and countless records in the past few decades. It's arguably one of the pedals with the biggest impact on the entire industry, which has seen it modified over and over and over again. So much that you think it's all been done, right? Oh boy do we have a surprise for you here! Holding three different Gain Modes, a pre- or post-EQ Clean Blend, active Bass and Treble controls, a foot-switchable and expression-controllable parametric Mid-EQ as well as a switchable top-boost for even more raspy, grinding bite, CHIEF DISRUPTOR is the most flexible, beautifully balanced and LOUDEST muff-style pedal you'll ever hear! Features: • Fuzz/Distortion Pedal with Switchable Mid EQ/Boost • The ultimate ‘muff-style’ drive, with stacked topology • 3 distinctive gain structures: Vintage (dynamic) Tight (more focussed) Heavy (sustaining and thick) • Pre or Post Clean Blend, for a tight low end • Active Bass and Treble EQ • Separate Mid EQ, with footswitch and frequency control • Top-Boost, for more crunchy harmonics • External Expression control, allows for filter or pseudo-phase tones • Internal controls for Mid Q and Top Boost Level • Relay-based soft-switching • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >160 mA max. current draw) Over the years, different muff drives had different levels of gain, so we derived three major distinctive gain structures all based on what we consider to be the best versions. The Vintage Mode (VTG) will give you every shade of discrete overdrive, while the Tight Mode will give a more focused and modern tone with less bass and super crisp harmonics. Heavy Mode is the essence of what we all love about muffs. Heavy, sustaining and crazy thick fuzzy distortion, with bone-shaking lows and chewy mids. Just crank the Disruption (Gain) Control and you'll know exactly what we’re talking about here. Tonal shaping was one of the true weak points of classic muff pedals and something we absolutely knew we had to remedy. We’ve opened the gates to more modern tonal flexibility through our active Bass and Treble controls, which let you boost or cut highs and lows with up to 15 dB, while our parametric Mid-EQ with adjustable centre-frequency and level boost/cut allows you to fine tune the mids with extreme precision, for everything from classic scooped fuzz tones, modern mid-focused dirt tones and all the way to cocked-wah saturation. You can take complete hands-free control of the Mid-EQ frequency via an expression-pedal. This lets you make instant tone changes on the fly, as well as unleash fast and quacky wah-like sounds or slow and enveloping phaser-like sweeps. If you feel like the filter needs to be more resonant for screaming synth-like sweeps or needs to be subtler, then you can adjust the Q of the Mid-EQ via an internal trimpot. The mids can also be turned on and off via the relay-based soft-switch, allowing you to kick in the mids for soaring solos, cutting chords or when you want to get filter freaky. Having super saturated mids and lows can sometimes result in a perceived loss of highs. To fix this, just engage the Top-Boost to give your high-mids a big push for more crunchy harmonics and bite to cut through any band mix. We’ve tweaked the Top Boost to our personal taste, but if you feel like it’s either too loud or not loud enough, you can also adjust the Top Boost Level via an internal trimpot. We carefully balanced the gain control to achieve total control of even the slightest harmonic nuances. So, whether you’re looking for low gain drive, crunchy medium gain rhythm tones, singing or saturated lead sounds or skull-crushing doom tones, the Disruption control can and will cover all of them! A lot of gain rules! But gain also means compression, and the more we compress our sound, the more our instrument will lose definition. Yes, bass players, synth slingers and extended range guitar rockers, we hear you! To preserve your precious core tone the CHIEF DISRUPTOR sports a clean blend control and a toggle switch to define the insert position. Insert your dry signal before the EQ section for a more cohesive sound or place it post-EQ to keep your dry signal completely unaffected. Last but not least, we always felt the original muff pedals (and clones) lacked output, hence we implemented our stacked headroom topology to keep the EQs from getting saggy when cranked, all which results in the tightest, most punchy and LOUDEST muff-style tone on the market. Go forth and empower your creative side, with tone that has true vision to inspire. If you are ready for a change in distortion history, then it’s time to follow the CHIEF DISRUPTOR!

KMA Cirrus Delay and Reverb ...

2.226,-

Cirrus SPATIAL-TEMPORAL MODIFIER Floating above your head, delicate and elusive yet dreamy and sweeping. Always in motion until it dissolves and merges with the all immersive atmosphere around it. Just close your eyes and let the KMA Audio Machines’ Cirrus Delay and Reverb carry you across the open sky, onto its sonic cloudscapes. Cirrus is KMA Audio Machines’ first step into the fully digital realm. But we didn’t just want to do a regular and run-of-the-mill type of product. No, what we came up with is a truly special and versatile, dynamically modulated combined Delay and Reverb pedal that will forever change your perception of time and space.

KMA DUAL LOOP SWITCHER Pedal

1.555,-

KMA Machines DUAL LOOP SWITCHER Efficient Switchability “A tale of two tones” We get it. There’s a wealth of pedalboard switching devices on the market and some can be quite complex, but what if you want to keep switching between multiple pedals on your board simple, easy to use and yet still effective? Well, the KMA Machines DUAL LOOP SWITCHER pedal has you covered and has been created with a focus on durability, reliability, simplicity and hassle-free operation to expand your creativity. Whether you’re looking to simply switch between two single pedals without extended tap dancing or combine and switch between two entirely separate signal chains, this helpful utility device features KMA’s active circuitry and soft switching for maximum signal integrity without compromise. Plus, with full Stereo/Dual Mono operation the DUAL LOOP SWITCHER allows for maximum flexibility. Main Features • Dual Loop Switcher • Switch or combine two Serial Loops, in Mono or Stereo/Dual Mono • Mono or Stereo/Dual Mono Input and Output (TRS compatible) • Buffered Bypass • Active Silent Soft Switching, heavily reduces mechanical noise and pops • Selectable Loop Order - A to B or B to A • Distinct LED colours, to indicate your selected loop at a glance • Durable compact enclosure for years of reliable switching • Top-mounted jacks, will fit into any setup • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >55 mA max. current draw) So, you have a pedalboard with a healthy selection of different drives and pedals for your creative tone desires. Good for you, variety is the spice of life. However, what if you need to switch between different overdrive pedals or other effects seamlessly with just a single efficient click? Normally this would involve turning the first pedal off and the second one on... sure, that’s just two clicks... but you need it to happen in that split second, right at that climactic point in the song where you simply can’t have your clean signal popping in and spoiling the vibe for even a brief moment. What if you miss one of the switches or hit the wrong one by accident on your crowded pedalboard and all chaos breaks loose? Well, the KMA Machines Dual Loop Switcher is here to swiftly save moments such as this. Featuring just two loops and without any gimmicks, this handy little helper takes the pain out of the pedalboard shuffle and provides serene switching possibilities in a diminutive and solid package. The A/B Switch toggles which loop is selected and a single Bypass switch means you can juggle your tones with ease. But wait, there’s more. By briefly holding down the A/B Switch you can combine both A & B loops for even more creative options, plus you can change the order of the two loops via the Direction Toggle Switch right in the middle of the pedal. Want to setup two completely different effects chains and switch between them or combine them, with the possibility of switching the order of them at the same time? How about switching between stereo effects or other devices in your signal chain while maintaining the same output path? Even switching between mono and stereo effects and then combining them in series using the flexibility added by our stereo/dual mono compatibility via TRS jacks is possible. Perhaps you’d like to add a mute function at a specific place in your signal chain or a tuner output? With just two loops, the possibilities are still endless but the solution is dead simple. Oh, and did we mention the bears eyes light up - how awesome is that!? Okay, besides just looking cool and fulfilling our boyhood dreams of an army of robot bears with freaking lasers as eyes, the 2 distinct LEDs actually serve a practical purpose; to quickly and easily show you which loop is selected at a glance. Red for A, Yellow for B and both if the loops are combined. This pedalboard-friendly device seamlessly integrates with your existing setup. It's compact, rugged, lightweight, durable, affordable and can be powered via a standard 9V DC power supply, making it convenient for all walks of sonic life. What’s not to like? Reduce your tap dancing and increase your flow and creativity simply - effectively and with one tap at a time!

KMA ENDGAME Duality ...

4.464,-

KMA Machines ENDGAME Duality Calibrator Stereo Alchemy “Forever entwined within the fabric of life, the self and shadow-self embraced in acceptance of their juxtaposition. Harnessing the true balance of their opposing natures, their awakening and ascendance heralded the dawn of a new found ecstasy.“ After years of development work, ENDGAME is KMA Machine’s most ambitious creation to date. A highly flexible and comprehensive solution for the end of your signal chain, ENDGAME is a superb problem solver and a convenient creative companion. Talk about feature packed! With an integrated Stereo FX loop, KMA’s proprietary True Double-Tracker doubler and own DUAL IR cab with power amp simulation, an Aux Input (also via Bluetooth), real pro-level XLR outputs and extensive routing options, ENDGAME really is a powerhouse for your board, whether touring as a fly rig or practicing at home with headphones. Oh, did we mention Stereo? Now you can finally use all your stereo devices with just one easy to use and compact product - let the alchemy begin! Main Features: • The complete final stage of your pedalboard • Foot-switchable Stereo Effects Loop • Dual Cabinet Simulation (Dual Mono IR Loader with 3 Celestion® Powered Presets and 2 customisable User slots) • Ambience Control - for room simulation and more • Foot-switchable True Double-Tracker (Proprietary Doubler) with Width Control • Switchable Tube Power Amp Simulation (6L6/EL34/KT88) • Flexible internal signal routing • Premium Analog, high-headroom input, with high-impedance circuitry • Variable Input level (+/-24 dB of gain/reduction) for direct instrument or line level devices • Input Direct Thru connection • Aux Input - Bluetooth Audio or 3.5 mm TRS, with Aux/Main Mix/Blend Control • Dual Headphone Outputs, with dedicated level control • Stereo Fully Balanced XLR DI Outputs, with ground lift and Variable Level Control (Mic/ Instrument/ +4 dBu) • Stereo 6.35 mm Balanced TRS outputs • USB C for loading user Impulse Responses and software updates • True Bypass silent relay-based soft switching • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2,1 mm, <490> mA max. current draw) It’s no secret that over the past few years stereo pedals have become a huge part of many musician’s rigs. While many regular tones can (and should) be mono, we at KMA love stereo effects (we actually have quite a few of our own in development right now), but why is it so hard to use them either at home or on the stage? Without the luxury of 2 amps (plus the ability to turn them up if you have them) or for owners of cab/amp simulators that are usually mono input by design, monitoring stereo effects properly can end up being so difficult that many just end up running their stereo effects in mono and therefore lose many of their spatial creativity nuances. Doubling guitars in recording is also a common practice in a variety of musical styles. In many cases, a single guitarist will record the same track twice with each separate recording being spread to the left and right channels. The effect of this is unmistakable to the ear and the slight differences and nuances between the two separate performances complement each other to create a noticeable thickness, density and weight to the musical experience. This is hard to get sounding right live too. Note this is not the same thing as simple doublers (that just delay one signal with a modulation) or ADT type solutions that are on the market today. So, KMA developed ENDGAME. We wanted to make an easy to use product that gives the essentials of good tone, nothing more and nothing less. While from the front panel it might look like ENDGAME has lots of controls, compared to many hidden menus and screens in many other products, all means that it is also deceptively simple to use, despite the huge complexity of what’s going on inside!

KMA Fuzzly Bear 2 Silicon ...

1.891,-

FUZZLY BEAR 2 Unleash the Beast, again “Through the untamed wilderness of the forest strives a grizzly monster, its glistening eyes peeking through the undergrowth. Endowed with razor sharp claws and bone-crushing teeth, this beast will rip through any intruder that dares to trespass into its domain. A thundering, sizzling roar distortedly echoes through the woodland. It’s here! It’s time to face the FUZZLY BEAR!” In 2013, KMA Machines’ first ever production pedal was inspired by an old, obscure and highly underrated fuzz box from the 1970s - the Jordan Bosstone. The original Bosstone wasn’t even a pedal, it was a device you plugged directly into your guitar, which brought a host of problems. Hence, we greatly refined the circuit for the original FUZZLY BEAR, to get the essence of that old-school sound, but giving it some modern twists by sorting out the low end and adding a Bias control, to help players explore lots of new tonal capabilities of this long-forgotten box of dirty tricks. With FUZZLY BEAR 2, KMA Machines put our now classic re-imagined fuzz into a modern, more pedal board friendly enclosure with top mounted jacks, enhanced it with relay-based silent switching and improved electronics. • Modern re-imagining of the classic ‘Jordan Boss Tone’ Silicon-Fuzz • Vintage '70s Fuzz sounds • Tones ranging from a sizzling and chunky overdriven tone, to furry wall of fuzz • SKIN/MEAT knob - provides control over Bias • GAIN control - delivers a whole range of different fuzz shapes • Compact enclosure with top-mounted jacks - will fit into any setup • True Bypass, with silent relay-based soft switching • Handmade in Berlin, Germany • Powered by standard 9 V PSU (9 V DC, centre -, 2.1 mm, 35 mA current draw) Back in the day, the main reason why the Jordan Boss Tone did not conquer the world of effects was actually due to its massive lack of bass. However, its core fuzz sounds could be truly heavenly with tones ranging from a purring overdrive, to downright vile and aggressive fuzz assaults. But when you awoke it, dug in and found ‘that’ tone, boy was it good and not at all harsh and gritty, like so many other fuzz designs at the time could be. When designing and modifying the circuit, we kept all that fuzzy goodness, but brought back the essential low end and gave some more tonal control, all to make our take fit more modern styles without compromising the core sound and simplicity. The GAIN knob delivers a whole range of different fuzz shapes. Back it off to get a dirty chunky overdriven tone, turn it up to give the FUZZLY BEAR 2 a thick and thicker coat of fur. Set the gain fully clockwise and magic will happen! The pedal’s smooth, warm and cosy decay turns into a starved and gated fuzz sound that almost gives a ghost octave, pseudo trumpety kinda vibe - perfect for classic tunes of yesteryear. FUZZLY BEAR 2’s SKIN/MEAT control adjusts the bias of the circuit. Think of it as the claws of the beast. You can dial in a sharp drive tone that only brazes the skin, a thick and meaty wall of fuzzy fur that can rip right through the intruder’s flesh and anything in between. Don’t confuse this pedal with a cute brown bear cub - this is the FUZZLY BEAR 2 and it will maul your face off!

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 Guardian of the Wurm ...

2.674,-

GUARDIAN of the WURM Your Tone Must Flow, so Tame the Terror "The earth, once so tranquil and serene, started to shake more ominously than ever beneath her feet. After centuries of scaring the living daylights out of the ancestors, the monster-of-malice was back. She looked up with an imperious glance and faced her destiny, her irradiant eye focusing unwaveringly on the venerable creature ahead. Suddenly, the earth stood still and there fell a deep silence. She had tamed the beast! She was the long-foreseen saviour, the GUARDIAN of the WURM” Fusing together the powerful evolution of KMA’s highly regarded WURM Distortion with an intuitive, yet versatile and ultra-fast Noise Gate, GUARDIAN of the WURM is the perfect metal monster. From chugging hard-rock, droning doom metal and grinding Swedish death metal, the beast abides. But through its highly tweakable control set, the pedal can be tamed to provide impeccable clarity to your riffs, making this the definitive dirt pedal for metal, prog-rock, shoegaze, indie and beyond. Features: • Distortion Pedal with Built-in Noise Gate • The next evolution of KMA’s top-seller WURM, the most extensive and configurable HM-2 style unit on the market • Easy-to-use, yet high-performance Blackmer® VCA-based Noise Gate • 3 different clipping styles: o Silicon (As HM-2) o Asymmetric (More grit and less drive compression) o Off (Diode lift, perfect for bass and baritones) • Clean Blend, for a tight low end • Highly configurable 4-band Active EQ, with variable centre-frequencies • 3 distinct types of HIGH MIDS frequency controls, to tailor your tone • External Trigger Input, allows Noise Gate control from an external source • FX-Loop between Distortion and Noise-Gate, for signal-chain flexibility • Internal control for an input filter, signal-trigger source and Noise Gate response • Relay-based soft-switching, with variable Gate switching modes • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >150 mA max. current draw) Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it’s absolutely on the money. We’ve never tried to hide the fact that the WURM Distortion is our unabashed sonic love letter to this filthy box of doom and gloom, taking the essential ingredients of this classic, while in the process developing a way more flexible metal-distortion pedal. While WURM absolutely nails that Swedish death-metal chainsaw sound, the pedal is not all about that and is adept for so many other genres. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and others have all made their mark with this style of distortion. With GUARDIAN of the WURM, we’ve evolved our take on this venerable circuit and added a bunch of really useful new features. Whether you’re playing guitar, baritone, bass or synths through this pedal, we’re sure you’ll appreciate the immense flexibility on offer here. So let’s dig in. We of course kept the iconic active HM-2 dual band EQ section, but added two more bands, giving a much wider range of tones to tailor your evil and gritty distortion sound. Each band now has a dedicated centre-frequency control on the front of the pedal, allowing you to quickly and easily change and fine-tune your tone. The EQ-STYLE mode, now also on the front of the pedal, helps you carve out even more tonal variation. Selecting HM-II mode will get you that classic ‘chainsaw’ high-mids character. However, in KMA mode the EQ is a little more tonally balanced, less peaky and a bit wider in response. Selecting BOTH fattens and doubles up the tone stacking, allowing you to rank the LOWS and the HIGH MIDS and rip that Swedish forest even more to shreds. To adjust the extent of drive compression, you can choose between 3 different clipping styles. Silicon (Si) delivers the original compression, for rich harmonics and singing leads. Asymmetric (A-S) increases the headroom and gives you more grit by retaining complex harmonics, while the OFF position lifts the sound of the Diodes for a slight compression and way more clarity, which is perfect for baritone guitars or bass. Plus, the Clean Blend feature helps to preserve your natural core tone. Simply twist the BLEND control to mix in the original unprocessed signal, allowing the initial pick attack of your tone to breathe. It is also especially useful when running the GUARDIAN of the WURM into an already distorted high-gain amp. When talking about high-gain, we all know drive circuits like this at full tilt can be noisy malice monsters. To get a grip on the potential noise floor, we designed a sophisticated, yet easy to use Noise Gate. This is based on a high-performance Blackmer® VCA and provides lightning fast and precise performance. Simply set the Threshold to taste via the GATE control and enjoy the silence. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish. For even more tweakability, we fitted an internal DIP switch to change the trigger-source from pre- or post-Distortion or even pre-Noise Gate. Pre-Noise Gate? Well, that’s because we added a TRS FX-Loop that works between the Distortion and the Noise Gate sections, allowing you to insert whatever fun noise-making pedals you might wish between them. You can also use this feature to place the Noise Gate section in your amplifier’s FX-Loop. Those who like to experiment with sound designs might even use the Noise Gate in other ways, for instance by using an external trigger source. No problem, the EXT TRIG jack hooks up to your source of choice. In extreme settings, the WURM can sometimes begin to feedback, which can’t even be suppressed by the Noise Gate. To tame that high-frequency content, flip the internal dip-switch to activate the input filter to help smoothen things out. Yup, we did think of everything. But wait, there is more! As the cherry on top, we added relay-based soft switches and also two different activation modes to suit the needs of different players. “Independent mode” is exactly what it says on the tin. Both sides of the pedal can be switched on and off independently via the TERROR or TAME switches respectively. However, in “Synced mode” the entire pedal is switched on and off via the TERROR switch. In this mode the Noise Gate can also be switched in and out of the circuit as desired. Changing between modes is really simple to do. Just hold down both switches while connecting the pedal to the power supply, and you’re good to go. Once set, GUARDIAN of the WURM will remember the setting, even when powered off. So here it is. Crank it up and you will feel the rage of the ancient WURM, while the GUARDIAN will help you tame that beast when needed, making GUARDIAN of the WURM your perfect pairing for an evil and gritty tone that never gets out of control… unless YOU want it to! m/

KMA Logan Overdrive Pedal

2.226,-

Logan TRANSCEND DRIVE Take a walk in the gritty dirt and breathe in the crystal-clear mountain air, exactly as Logan once did on his journey to glean the beauties of both nature and mankind. Once you hear Logan's sweet and graceful sounds you will be driven to find your own way into the transcendental tone kingdom. So plug-in and let Logan guide you into a new era of overdrive. Logan is made to transcend the well-known boundaries of overdrive. It doesn't matter if you are looking for a pre-amp, a low/mid-gain drive or a screaming resonant cocked-wah sound, Logan will deliver all the gainy goods. Combined with our active 3-Band EQ, including a fully parametric Mid-EQ with a separate On/Off-Footswitch, Pre or Post Gain position-switch and an expression-in for hands-free filter sweeps, Logan is sure to deliver great tones and outstanding flexibility.

KMA Mandrake Octo-Shrieker ...

1.891,-

KMA Machines MANDRAKE Octo-Shrieker Elevated Tonal Euphoria “The humanesque abomination, begat of the evils that once fertilised his empire of dirt, now senses the bleak emptiness of the air that surrounds him. In recognition of his harvest and the perpetual change to his existence, his mesmerising scream is both devastating and euphoric, so all those that encircle him are subdued from the aural toxicity that emanates from the disfigured effigy.” From the outset, KMA Machine’s goal was to create the most flexible analog upper octave pedal ever yet produced. Based on a highly refined and improved version of the Shriek circuit from our venerated MOAI MAEA pedal, the MANDRAKE brings an even more robust and present upper octave to the sonic table. By combining that upper-octave might with a versatile, yet highly intuitive user interface, the pedal provides a ton of killer tonal options in a very modern and pedalboard-friendly package. Main Features • Analog upper octave pedal - from subtle tone enhancement to full-on dual octave grind • Ultra-fast tracking, with variable TIMBRE and FILTER controls • Easy-to-use interface, with high levels of flexibility • Discrete transistor-based fuzz, with enhanced rectification circuit topology - for a more robust and present upper-octave • Active, pre-gain 2nd-order filter section, designed to perfectly prepare any instrument's signal for octaval tones • Independent Mix controls for precise balancing of both the effected and dry signals • Compact enclosure with top-mounted jacks - will fit into any setup • True Bypass silent relay-based soft switching • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >30 mA max. current draw) Octave up pedals (as used by so many legendary performers including Hendrix, Tony Iommi, Josh Homme, Billy Corgan, Jack White and so many more), can really give added bite to your sound. But often, many of these fun tools can be untamed and lead to nasty clashing overtones. With MANDRAKE however, we didn’t want to just make a one trick pony octave up device. No, we wanted to expand on our easy-to-use, yet powerful and ultra-fast tracking Shriek circuit with its edgy and fuzzy character that’s reminiscent of many of the best vintage octave-up devices. To do this, we introduced a 2nd order Low-Pass Filter, a TIMBRE and individual Mix controls to KMA’s well-regarded circuit to make it way more versatile in a single pedal. Let’s look at those cool new things in more detail. The FILTER control helps to tame your upper harmonics, as well as to improve tracking, letting you achieve unhinged, cutting and shrieking mayhem when the control is fully turned all the way to the left. While turning the knob in the other direction gives a more mellow and blooming synth-like texture. The FILTER section is also very useful for tailoring the upper octave effect to different instruments and pickups, where getting the right tone is not a “one size fits all” equation. In addition, to enable the octave voicing in MANDRAKE to be sculpted exactly to your own personal taste, the TIMBRE control defines the amount of fuzzy gain present in the upper octave. This allows you to perfectly blend in the pedal’s tonality with the rest of your signal chain. Turning the control fully counterclockwise, gives a slightly crunchy and percussive tone that’s ideal for melodic arpeggio enhancements. While cranking the TIMBRE knob fully clockwise will transform MANDRAKE into a crushingly saturated doom-hammer, instantly ready to wreak havoc with each power chord you throw at it! Topping off the features, the DRY and OCT+ controls allow the dry signal and effected upper octave to be mixed independently, for precise tonal balancing. This is especially handy when using MANDRAKE together with other dirt pedals or when you just want to retain the natural body and attack of your instrument. Subtle descant or decimating octaval Armageddon? With MANDRAKE the choice is totally yours!

KMA Moai Maea Analog Octaver ...

2.450,-

Moai Maea MONOPHONIC ANALOG SUBSONIC POWER OCTAVER For thousands of years they tower over the green meadows along the coast and the hillside of Rapa Nui. Moai Maea, silent and solemn - venerated and mystified by a long forgotten ancient culture. It will let you feel the droning and shrieking of the mighty erupting Rano Raraku where the Moai Maea was born. Moai Maea is KMA Audio Machines’ answer to long forgotten analog octaver tones. The pedal generates one higher octave and up to two sub-octaves, helping you generate a huge wall of sound by playing just one note. The higher octave has an edgy and fuzzy character which is reminiscent of old late ‘60s early ‘70s octave-up tones, as used by legends like Hendrix or The Stooges. The sub-octaves turn your guitar into a filthy bass guitar with ground shaking lows. Choose between either the first (-I), the second (-II) or both together (-I/-II), which gives you the sought-after wall of sound. The Moai Maea also gives you the possibility to create an individual mix of each generated octave and the original signal. To expand your soundscapes, the pedal features a serial buffered FX-Loop, within the clean path, plus a phase inverter to avoid phase-cancelation when mixing signals this way. Each octave section is foot-switchable. You can turn on and off the higher octave by jumping on the SHRIEK switch and the sub-octave by the DRONE switch. So if you are looking for a pedal to you that extra edge for your guitar sound, Moai Maea might well be the nirvana you’ve been looking for. Powered by an optional standard 9V-18V DC PSU (negative center, 2.1mm, approx. 20mA current draw) ATTENTION: The Moai Maea is an analog octaver and works monophonic only, not polyphonic! That means for a clean and perfect tracking, you have to play single notes because of the analog circuit design. Keep in mind that chords will sound glitchy, but charming anyway. Every pedal is designed, assembled, silkscreened, tested and numbered by hand in our small workshop. We use external manufactured PCBs to guarantee our high quality standard and keep the price of our pedals reasonable. The use of an indestructible powdercoated die-cast enclosure ensures a maximum durability.

KMA PYLON ATB (Advanced ...

2.114,-

PYLON ATB Noise Gate Perfect your Rig with Silence and Control “Deep within the solitude of the temple, the Sau’s of the Per-Ankh assembled in silence. Their conclusion was self-evident. Only those pure of tone could be received in the temple and find sonic peace. From the centre of their silent circle, the Orb swelled and raised above the Pylons. Erupting in a rain of light and spewing forth daggers of lightning, their new God subdued and separated the chaotic ocean of noise from the perfect breeze of stillness. Peace reigned once more, the hordes of cacophony overcome.” When you add drive, dirt or other sound manipulation devices to your signal, the trade-off is always noise. So, many players turn to noise gates to help tame these unwanted nasties. Unlike many noise gates on the market, the PYLON ATB Noise Gate seeks to not only drive back the hordes of fizz and hum, but also arms and reinforces your tonal attack, shutting down the noise and yet helping you enjoy your rig’s true potential. This advanced, multi-functional and super-versatile pedal not only features an ultra-fast Gate with a smooth trigger, an integrated Boost section, an External Trigger Input for external bypass switching or Gate-triggering, a relay-based Channel Switcher for your amp but also sports a built-in Audio Transformer to help enhance and balance your rig. Hear and feel the quiet in the eye of the storm! Main Features • ATB (Advanced Transformer Boost) Noise Gate Pedal • Easy-to-use, yet high-performance Blackmer® VCA-based Noise Gate • Integrated Audio Transformer - adds heft to signal • Switchable Boost/Attenuation circuit - up to 30 dB of gain on tap • Variable frequency CUT control - helps to tighten up the low end and remove mud • EXT Trigger Input - allows Gate and Bypass control from external sources • Channel Relay Output - switch your amp’s gain channel in sync with the pedal • FX-Loop, for signal-chain flexibility and 4-cable method connectivity • Internal Ground Lift Control • Relay-based soft-switching, with selectable Gate/Boost switching modes • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >140 mA max. current draw) When talking about signal gain, we all know drive circuits at full tilt can be noisy malice monsters. To help get a grip on your noise floor, PYLON’s NOISE GATE is based on a high-performance Blackmer® VCA and provides lightning-fast and precise performance. To find the right spot, simply choose between one of the two detection-range settings and dial in the THRESHOLD to taste. With either softly decaying notes using HIGH mode or a fast-closing response in LOW mode, you’re sure to be able to dial in super tight tones when you need it, but without interfering with your sonic signature. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish and just so you know when it is operating, the white status LED will also turn blue as soon as the gate starts to act. Providing up to 30 dB of gain, the integrated BOOST circuit can really help to fine tune your tone, but it can also serve as an attenuator too. Its CUT control will tighten up your low end and is selectable between 65-730 Hz to ensure a mid-focussed and cutting lead sound when pushing your amp’s preamp into saturation. Choosing between three different modes for the boost’s on/off state, gives you plenty of options on how you want to use it. Either leave it ON to always help shape your tone, OFF if you don’t need it, or use SYNC mode so it is activated with the GATE. Both CUT & BOOST knobs are backlit, in order to show you the on/off status of the BOOST section at a glance. Using transformers in pro-audio gear is nothing new, but while they help to easily match the impedance of low-level and unbalanced signals such as from guitar or bass instruments, PYLON’s audio-grade-transformer also gives additional warmth with associated nice low-frequency harmonics. Your guitars, synths or in fact anything you put through the pedal will never have sounded so solid. The pedal gives more ‘heft’ and enhances the core tone, in a much finer way and without any of the phase issues that can happen when using EQ alone! However, when the output transformer is boosted even further in level, it can overload many amplifier or pre-amp inputs and make things appear muddy, especially with high levels of additional gain. So, to help tame superfluous low end (especially for rhythm chugging and soloing) we added a fixed built-in roll off that affects everything below 65 Hz when the internal BOOST section is activated. With PYLON’s IN/OUT and SEND/RETURN jacks, it’s capable of many different wirings to suit different setups. This includes the classic 4-Cable method that helps to tame those unwanted extraneous noises from your amp’s own drive sounds. You do this either via the amps own FX Loop or by connecting your dirt pedals on your board to the pedal etc. via the SEND/RETURN jacks. Using PYLON this way, the clean signal from your source (guitar/bass/synth etc.) will trigger the gate to kill the hiss and buzz, then once you add your favourite flavours of dirt etc., it will help to keep your initial attack and therefore levels more intact. Due to the utilitarian nature of noise gates, a lot of musicians use their gate on top of or even inside their amp rigs. But what if you have to turn it off and on from time to time? Well, with PYLON that’s dead simple. Just hook up an external (Normally Open) Momentary Switch to the EXT Control Connector, move the slide switch above the jack to BYPASS (BP) mode and you have solved the problem. But you may be asking what the TR position is for then? If you want to put the PYLON on your pedalboard and have an external source trigger your noise gate, move the slide switch over to TR and bingo. There’s actually lots of fun behind this little function. For instance, by feeding the sound of your drummer’s kick drum into the pedal, your riffs can be tight and synced up. Those who like to experiment with sound designs might even use the Noise Gate in other ways, the creative power is almost endless here! Sometimes you may want rely on your amp’s distortion but also use the clean channel of your amp and only want the Gate on the drive. That sounds like it could be a bit of a tap dance to switch over channels, turning your gate on/off and maybe turn on a boost too. Well have no fear, PYLON is here and will give you all of that in one go! Connect the CHANNEL input on PYLON to your amp’s channel switcher connector, set the polarity slide switch to suit and here we go. As soon as you engage PYLON it will also switch the amp’s channel. Alternatively, you could also use this socket as a remote switch for many functions on other pedals you may have in your arsenal too. Last and by no means least we added an internal GND-Lift DIP switch for helping isolate any ground issues, if needed. So, you thought gates were just utility devices? With PYLON you’ll enhance your whole rig. Now go let your tone flow through and riff!

KMA Queequeg 2 Sub Octave ...

1.667,-

QUEEQUEG 2 Sub Octave Generator Reawaken The Depths Below “Releasing the harpoon from his grasp, Queequeg gazed into the depths of the bleak waters that stretched down endlessly beneath him. Mindful to the aim of his adversary, the giant whale plunged further and further into the darkness of the abyss. This subaqueous dominion would forever be his rightful place. QUEEQUEG 2 - look deep down and believe.” KMA Machines released the original QUEEQUEG in 2016. The pedal was our take on how simple and effective an analog monophonic suboctave device could be. Time doesn’t stand still and so with QUEEQUEG 2, KMA’s aim was not only to update the device with a more striking appearance, but also add an additional sub-octave and the ability to switch and mix between them. With a small footprint, the updated pedal also has top mounted jacks and relay based soft switching for the modern age. QUEEQUEG 2’s super, easy-to-use and ultra-fast tracking sub-octaver works equally well on guitar, bass and synth, so these classic earth-shakingly awesome tones can find their way to any setup out there. Main Features • Analog sub octave pedal - from subtle tone thickening, to huge faux bass-synth sounds • Two ultra-fast tracking analog mono sub octaves • Offers precise octave shifted single note lines or glitchy, random chords • Easy-to-use one knob MIX design - controls clean/sub-octave blend • Three switchable sub-octave settings -I: for synthy sub-octave sounds -II: for truly earth-shattering lows -I/-II: for a massive wall of sound sub tones • Multi-coloured LED - shows which mode is active at a glance • Compact enclosure with top-mounted jacks - will fit into any setup • True Bypass silent relay-based soft switching • Handmade in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >60 mA max. current draw) Thickening up your tone slightly, blasting out faux bass-synth resonances or even filling in for a missing bass sound are just some of QUEEQUEG 2’s specialties. The pedal’s super quick tracking benefits from KMA’s custom all-analog circuit design, giving you very organic and smooth suboctave tones. Dead simple to operate, this tonally deep submergence vehicle offers three sub-octave settings to choose from. These allow you to turn your guitar into a filthy bass guitar with ground shaking lows, alternatively adding extra depth to basses and mono synths alike. The toggle switch lets you select between either the first octave (-I), the second (-II) or mix both together (-I/-II) which gives you a thunderously massive wall of sound, it even changes colour depending on the mode. With its one knob MIX control, you are able to dial in just the right blend of the generated octaves and your clean signal. From completely clean on the left, to 100% suboctave action on the right and all with different sonic blends in between, you’re sure to find your mighty vessel of tone. Beware - don’t let your lows be dragged under! QUEEQUEG 2 draws the line right here and ends your hunt for an easy-to-set and great-sounding all-analog and thundering sub-sonic beast!

KMA Stereo AB/Y Switcher ...

1.443,-

KMA Machines Stereo ABY Consistent Stereo Connectivity “To A and B or not to B, in stereo - that is the question.” Enrico Shakespeare, ye-olde scribe of Berlin There’s nothing new about ABY boxes. They’re a very commonly used accessory and a staple part of many setups out there. But if they are so common, then why is it so difficult to find one in a stereo format that’s well built, noise-free AND affordable? This is a question we kept encountering as we use many stereo devices daily here at KMA, plus we know that a lot of users are just as mesmerised by the wide sonic worlds of stereo as we are. So, we made a killer stereo ABY switcher to use here at our workshop. In the process we found it so useful, so we decided to make it available to the world too in a pedal format. Whether you’re looking to switch or combine your stereo input signal between two separate destinations or switch or combine two separate stereo input signals into a single output, the KMA Machines STEREO ABY pedal is a dependable little helper for your tonal quest. Created with a focus on durability, reliability, simplicity and hassle-free operation, this passive ABY switcher also features True Bypass active silent relay-based soft switching to reduce mechanical noise and unwanted pops and clicks when in use. So, all you have to do is choose your path and perform! Main Features • Passive Stereo ABY pedal, with active switching • Sends a stereo input to two separate stereo outputs, separately or combined • Sends two stereo inputs to one stereo source, separately or combined • True Bypass • Active silent relay-based soft switching, heavily reduces mechanical noise and pops • Omnidirectional for 2 into 1 or 1 into 2 operation, plus in Stereo! • Distinct LED colours, to indicate your selected signal path at a glance • Durable compact enclosure for years of reliable switching • Top-mounted jacks, will fit into any setup • Made in Berlin, Germany • Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >40 mA max. current draw) KMA’s STEREO ABY features a fully passive design for the best signal integrity, along with our True Bypass active silent relay-based soft switching. While that might be a hell of a wordy mouthful, what it means practically is that the audio signal itself is entirely untouched and without any colouration. Plus, you can use the device in either direction, for sending to different sets of amps or effects or for switching inputs/ instruments/devices into your chain. However, the actual switching is taken care of by our reliable and sturdy soft switches as a separate active circuit. By employing this switching technology, mechanical noise is greatly reduced, as is the risk of those pesky loud clicks and pops that have plagued so many boards and has haunted so many musicians, since the inception of ABY boxes. The bears eyes light up - how awesome is that!? Okay, besides just looking cool and fulfilling our boyhood dreams of an army of robot bears with freaking lasers as eyes, the 3 distinct LEDs actually serve a practical purpose; to quickly and easily show you what signal path you’ve selected at a glance. Red for A, Yellow for B and Blue in the centre for A&B. This neat accommodating Stereo device seamlessly integrates with your existing setup. It's compact, rugged, lightweight, durable, affordable and can be powered via a standard 9V DC power supply. In addition, without tooting our own horn too much, it just looks awesome. All helping to make it feel right at home amongst the artistic landscape that is your pedalboard. What’s not to like? So, will you choose A, B or both? With the KMA Machines ABY Stereo, the fate of your signal is in your hands!

KMA Stereo Headphone Amp

2.190,-

KMA Machines - STEREO HEADPHONE AMP Freedom to create… wherever and whenever! A few years ago, KMA released ENDGAME, which is our ultimate end-of-chain utility device. Featuring IR Cab Sims, Power-Amp simulation, True Stereo Doubling, Stereo FX Loop, Aux-in, Bluetooth, Dual Headphone Amp and much, much more, it’s basically Thanos’ gauntlet with all of the infinity stones in it. However, not everyone needs all this power all the time, sometimes just one or two infinity stones will do. This is why we made the STEREO HEADPHONE AMP - a simple, compact and great-sounding dual headphone amplifier with AUX in, Bluetooth, pass-thru as well as Stereo Ins and Outs. Meaning you can practice, explore and create in full ear-gasmic stereo. This new little box in KMA’s Utility line will add high-quality headphone monitoring to any rig, wherever and whenever you want it. Main Features: • Exceptional and Powerful Headphone Amp • Hear the end of your pedalboard • Dual Headphone Outputs, with large level control • Aux Input - Bluetooth Audio or 3.5 mm Stereo Analog • Aux/Main Mix/Blend Control • Premium Analog and high-headroom audio, with high-impedance input circuitry • Flexible internal signal routing - full Mix or Buffered Thru Outputs • Auto Detect TS/TRS 6.35 mm Inputs and Outputs - Stereo or Mono • Made in Berlin, Germany • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, <250 mA current draw at max load, not included) Taking those pristine and powerful dual headphone output stages as well as the flexible AUX features from ENDGAME, we have created what we believe to be the definitive, yet still affordable, pedal stereo headphone amp. You can use it as a standalone clean device or you can place it after your amp-sim of choice. Maybe you want a simple way to incorporate backing tracks into your setup? Well, you can do that with the AUX in and Bluetooth features. For example, this could allow you to trigger samples and/or full tracks via your phone or computer. In addition, it’s full Stereo In and full Stereo Out, so you can incorporate your divine stereo effects as well and output it to a stereo interface, mixer or PA. With the large Phones Control, it is one knob to rule them all! This controls the master output level for the headphone amp, allowing you to find the perfect volume to suit your needs and since it’s got some proper size to it, you can actually adjust it with your feet on the fly, if required. The INPUT LEVEL knob allows you to tweak the input gain to match whatever you have running into the device, be it an instrument, amp-sim or a full signal chain full of effects. While the in-built CLIP LED delivers visual feedback and will blink red if you’ve set the input a bit too hot. You can also run it hot on purpose and send the pre-amp into saturation. It’s actually very musical and has a similar vibe to a blown out or pushed channel strip on a mixing console. So even though it’s just a small simple control, don’t be shy to experiment with it a bit. Placed directly before the Main Outputs, the AUX Input is a super solution for feeding a backing track or any other stereo signal into the outputs, making the STEREO HEADPHONE AMP perfect for many purposes including practicing. Whether streaming via the built in Bluetooth or connecting via the mini Stereo analog 3.5 mm jack, the resulting audio signal will be present via either of the two Headphone Outputs and the Main Outputs. Plus, the MIX control allows you to blend anywhere between the core input signal and the AUX Input Don’t want the Aux Input to be present on the Main Outputs though? No problem, just press the Output Mode push button from FULL to THRU in order to remove the AUX path from the main outputs easily, effectively turning STEREO HEADPHONE AMP into a strong, clean buffered stereo out for your rig. If you’re anything like us, then you probably already have a pretty decent pedal collection. So of course, we had to make our very own headphone amp Full Stereo to accommodate everything from direct and dirt simple to stereophonic surreal soundscapes. But what if you want to use it in Mono? No problem. How about Mono In and Stereo Out? A cinch! STEREO HEADPHONE AMP automatically detects what you have connected up and will sum the unused path to the centre. Even if it is in Mono - Mono mode, the Aux input will also still be in Stereo via your headphones, so practice away without losing your head! Last, but by no means least, we added another trick up the STEREO HEADPHONE AMP’s sleeve for live musicians. If, like many performers today, you use IEMs, you may want more of your own level or have an easy and simple way to blend your own monitoring levels. Many musicians can experience a slight delay between their own signal and what comes back from the monitor mix depending on the type of connections used and this is even more prevalent with many digital consoles. In addition, if there are not enough aux sends on your rig, sometimes you may not be able to hear yourself in stereo either. So, by using the analog AUX input for your monitor mix in and the STEREO HEADPHONE AMP’s headphone out to your wired IEMs (or connected to your own IEMs wireless set up) you will have more direct control over your own levels. In this case though, just set the Output Mode push button from FULL to THRU to not pass the Aux input section to the Main Outputs - no more arguing with the engineer for “more me” - you have your own control! Phew, even though we’ve not yet mentioned how cool it is that the KMA Bear’s eye lights up, it still seems so much more than the “Bear Necessities” of what might normally be considered a run-of-the-mill utility device. Come on in to finally sink your own claws into true headphone monitoring for the modern musician!

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.

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