The trail-blazing, tweed-clad "Bass" amp that curiously sounds better with a guitar. Its sizziling hot bias, rectifier sag and excellent touch sensitivity call on you to wail the Blues and lay down the crunch, as guitar-god intended. Comes with the period correct 'Tweed 4x10' cab with all the usual accouterments.
A perennial studio favorite, this mid-sized reverb amp has all the mojo of just-before-network-acquisition American amps. Although being conceptually small, it has a bit more headroom from the earlier tweeds. This allows it to be pushed hard and loud, maxing out in a textbook example of 'crunch' -- and these amps did crunch better than anything else before or after them. The Verbmaker includes a virtual-analog trem circuit, high and low impedance inputs, as well as an extra mids knobs you didn't find on the original, but here works as a bleed mod. Like our other American series reverb amps, this includes our boingy spring reverb, specially tuned to match the best examples of the short-lived originals. Comes with a 'Pre-Network 1x12' cab.
Representing the second generation of big British stacks, this head was the weapon-of-choice early in the career of a guy who arguably invented tapping. Hence, we designed this head to have that hairy, 'brown' quality and sound louder than it is, thanks to plenty of raunchy hot distortion. Features include individually voiced high & low inputs, pre and master gains, specially voiced spring reverb as well as a final-stage volume control. Comes with its brown-cloth slanted 4x12, and this one loves our Phaser 101 in front of it.
Containing all the chime of the classic '60s small-but-mighty combos, these Bristols come in patriotic British Racing Green and are as hot as an E-Type with an inline 6. The Brilliance and Tone knobs are mutually interactive, allowing you to get a wider range of tones than the looks might initially suggest. Other features include separately voiced high and low inputs and a cool analog modeling tremolo. Comes with its perky 1x12 companion cab.
The hand-wired British heads of the late '60s and '70s were featured in the live rigs of more than one great Rock band. Inspired by these stadium-sized amps, Leeds features a distinctive voicing that offers greater clarity than other U.K. amps of the era. Just like its forebears, Leeds has a good deal of headroom, but we also extended the gain range to give you plenty of thick, distorted tube sounds. Comes with a bright/normal switch with dedicated gain control for each channel, as well as a master gain, presence and an additional tone control. Includes its custom-voiced 4x12 cabinet.
A unique example in our 'Modern Californian' series of amps, the Bear Republic is a dual-channel construction that can do anything between strong, well-balanced leads to low-down crunch on the clean channel, but also dish out mean distortion on the heavy channel. The result is a highly versatile amp that can cover many different styles. Each channel comes with its pre and power amp gain controls, and the amp also features an additional master volume knob for added control. Comes with a slanted 4x12 optimized for the vast power of this amp.
That gritty distortion sound found anywhere from the 80s Indie to 90s Grunge to today's no-nonsense leads and rhythms. The Tone knob is your good friend.
A mean, lean OD machine that graced a million rigs since 1979. Neck deep in harmonics, with a nice mid 'oomph' thrown in for measure. Crank the volume to drive your amps hot, or turn the gain to add greenie's distinctive warm overdrive. 9-volt battery not included.
One of our unique contraptions conceived here in the Southland, Pepper 'N Vinegar is a hearty dose of boost that can give sonic equivalents of the components of a decent southern meal. It has four modes, tugging from the bottom end to the really nasally, which is where you get after dessert. A dirt-inducing stage with dedicated mix complements the recipe. It gets particularly happy if put in front of amps that are on the verge of breakup, but not yet quite distorting.
Trailing after the renowned germanium 'round red' fuzzes that came a few years before, the silicon transistor fuzzes had a bit more 'bite' that helped cut through the ruckus of a full-on live band. To their credit, they also found their way into legendary tones that echoed from Fillmore East to the ruins of Pompeii. Experiment with the two knobs, and your guitar volume as well.
Wah 1970 descends from the classic wah pedals of the '70s famous for their edgier tone and unique sweep. Our take on them offers you two different models you can choose from, as well as a built-in envelope follower so that you can use 'the 70' hands-free, much like an auto wah. Just adjust the envelope effect using the knobs to suit your signal level and playing style, and set the pedal where you think it sounds the best. You can now control the wah effect simply by the dynamics of your playing or with your volume pot. Of course, you can also use it completely manually and even control it with a MIDI device or pedal.
Named after our celebrated analog-modeling synthesizer, the Magellan Filter is a highly versatile analog-modeling low-pass filter unit with a built-in pre-gain stage as well as configurable auto-envelope. Adjust the filter cutoff or resonance, and select between -12dB and -24dB attenuation modes to different effect. You can set the envelope to rise or fall using the amount knob and specify attack and release times. Drive the pre-gain stage for added emphasis and grit. A perfect cure for the common tone.
Optimized for the guitar, the EQ6 is a no-nonsense essential for sculpting that perfect tone. Place it anywhere on your FX chain.
Warm, lush chorus descended straight from the analog world of the early 1980s. A modern classic.
Get that swooshing-jet effect. Comes with resonance control to vary the intensity of the flanging effect, as well as a BPM-syncing feature.
Modeled after the venerated script-logo phasers that started popping up in setups back in the '70s, Phase Pi2 features a sweep range specially calibrated for the guitar. We improved on the tradition by adding a control that allows you to switch among the milder script logo, the deeper block logo and the more pronounced modern varieties of this orange box.
Analog-modelling tremolo with adjustable depth & rate as well as BPM syncing. You can choose between a choppy, hard tremolo effect and a softer one similar to that found in old-school amp tremolos.
V for Vibrato. This vibrato pedal has a nice, round modulation curve and plenty of analog vibe. You can set the rate and depth of the vibrato to achieve anything from a subtle tremor to full-on whacky pitch modulation. Also feature BPM syncing for the tempo conscious.
A highly essential unit, the Volume Pedal offers selectable exponential or linear sweep curve, as well as individual amplitude settings for heel-down ('min') and toe-down ('max') positions -- which allow you to specify the pedal travel, and even invert the swell direction. Settings go up to 6dB extra boost to provide a bit more sizzle to the signal chain. A perfect complement to that MIDI expression pedal.
OctaveMaker takes your original signal and reproduces it one and two octaves below. You can 'pad up' your tone by using it as an accompaniment, cover bass parts using your guitar, or make your bass sound even lower and meaner.
Evil Twin is a highly versatile and easy to use delay. It absolutely doesn't color the sound, and comes with a handy delay range selector for making time tuning easier. Also includes BPM syncing feature.
Unlike other so-called 'tape delays' on the iOS that just slap a high-cut and ship it out the door, we took our time and spared no pains planning out our own little tape delay. Here's Echorex, with a virtual tape-reel driving the whole thing -- not good because its digital, but because it actually models the mechanical aspect of actual tape delays. We BS not: just move the delay control and listen as the echoes smoothly slow up and down. Turn up regen or dirt to start self-oscillation and twist that delay knob: Echorex is now an avante-garde instrument in its own right. Some other awesome features included an input-cutoff mode that allows trails, or playing over natural self-oscillation, a dirt knob that adjusts amount of tape distortion, as well as dual EQ knobs to simulate aged read/write heads.
ZoneVerb is a highly versatile reverb unit packed with different space models. Use the 'Type' knob to choose from many types of different reverbs, including two rooms, a chamber, hall, cathedral, tunnel and plate. You can also use the decay and tone knobs to adjust the reverberation time and dwell. Specify the pre-delay using the pre knob, and adjust the amount of reverb effect via the mix knob. Place after amps for a space-filling stereo effect.
Inspired by the first plug-in-your-amp spring reverb boxes produced in California in the early '60s, Spring Forward resulted from our cutting edge R&D and obsession with getting that unique, jumpy reverb sound 'just right'. Unlike some other 'virtual spring reverbs' (that simply used a standard EQ'd digital reverb effect), Spring Forward actually models the way that sound travels through springs and is relayed by the attached pickup, as well as the effects of the tube circuitry that drives the injection and recovery stages. This incarnation includes two distinct tanks you can choose from, as well as Dwell, Tone and Mix controls. Use it before the amp, between the amp and the cab (similar to a real-life 'fx loop'), or after the cab for different results.
Place this innocuous but highly useful pedal at the start of your chain to get rid of the nasty 60-cycle hum or invasive feedback in silent passages. Use the threshold to specify what level the pedal should engage; use decay to specify the length of the crossover period. Use the Shut Up/Quiet switch to choose between complete signal cutoff or just attenuation.
A boutique-grade compressor similar to those favored by some of the biggest names in guitar or bass, SquashRacket brings analog sensibility together with a versatile feature set. Use the sustain knob to specify the level of compression and to match your input signal. Turn up the squash knob to increase the amount of compression. You can also adjust the attack time for the effect and use the gain knob to compensate the output signal, or even drive an amp a bit harder. Whether you want to sustain those bends for an extra half-minute, add shimmer to your rhythm work, or get a crisp attack on the strings, SquashRacket delivers boutique quality.
Harness the full power of ToneStack using this special ABY splitter/mixer unit. Simply add an ABY unit to split your signal into two A/B "busses", and use the ABY controls to select the A, B or Y (A and B together) signal path. In the Y mode, you can set the balance between A and B signals, and also pan them individually. You can also select to have the incoming signal split into two mutually exclusive frequencies. Some basic ABY scenarios include: using two different amps and effects chains simultaneously for beefing up your tone and creating "space"; using one amp with two different cabinets; instantly A/B-ing between two effects chains, or separating the signal into two frequency groups and treating each separately.