The revolutionary Ditto Jam X2 Looper features our cutting edge proprietary BeatSense technology, making it the first looper pedal ever to automatically keep your loops from drifting out of sync.Our state of the art algorithm is able to snip, stretch and compress each beat of your loop dynamically to your tempo while still maintaining audio quality. This means your Ditto Jam X2 automatically stretches the loop by a couple of milliseconds to make it fit the pocket so your performance is always nice and tight.
Based on kirk's EQ, volume, and tone settings. Exceptionally even in response. Thick top end and full dynamic range.
While the Boss CE-2B Bass Chorus is a bass pedal, it sounds great on guitar as well. The Boss CE-2 is highly prized by guitarists, and though many will accept no substitutes, the CE-2B's tone is very close, and you gain the addition of a Mix knob for a wet/dry blend.
The original Bad Horsie wah debuted in 1996, and was developed in conjunction with Steve Vai. It later iterated into the bad horsie which featured a foot switchable Contour voicing option. The original Bad Horsie can be found in a variety subtly different graphic variants, but the design remained the same through its whole production history.
The DOD Death Metal Distortion FX86B channels all the raw, savage tone of the most metal of metal genres into a single pedal with an easy to use interface. Crafted with controls for level and Low Mid Hi EQ knobs, the FX86B takes you straight into the searing, buzz saw distortion territory made famous by bands like Burzum and Abbath.
True bypass ABY amp selector with tuner out. On board transformer to eliminate ground buzz. 180 degree polarity reverse to phase match amps. Compact and rugged for pedalboards. Plug and play easy to use. Designed for the purist, the Radial BigShot ABY is an ultra compact, 100% passive foot switch that provides true bypass, ABY amp switching capabilities with A or B toggle and A + B combine functionality. This assures the guitar signal is routed directly to the amp without any buffering, loading or tone altering circuits. To add versatility, the BigShot ABY has a built in transformer that can be engaged to eliminate troublesome ground loops. Once on, you can also ensure your two amps are properly in phase using the 180 degree polarity reverse switch. The compact, yet ultra rugged design makes the BigShot ABY ideal for pedalboard designs where space is always at a premium. Furthermore, because it does not require power to make it work, it eliminates the need for batteries and space hungry power supplies.
Get The Classic, Warm And Mind Bending Tremolo Effects Of Vintage ‘60s Amps. Dedicated Rate, Wave And Depth Controls For Awesome Sound Shaping. Runs On 9 V Battery Or The DC Power Supply (Not Included). First Class Electronic On/Off Switch For Noise Free Operation. High Quality Components And Exceptionally Rugged Construction Ensure Long Life.
The FX68 Super Stereo Chorus was introduced in mid late 1990 as DOD's "top of the line" chorus effect, replacing the FX67 Stereo Turbo Chorus in DOD's lineup. With Level, Speed, and Delay Time controls, the FX68 was comparable to the FX65 Stereo Chorus feature-wise, but added a Level control to mix the wet/dry output levels. Unlike its chief competitor at the time, the FX68 did not have a tone control. The FX68 was discontinued in 1996 with the introduction of the FX64 Ice Box.
The Boss AC 2 Acoustic Simulator can take your electric guitar signal and model several different types of acoustic guitar tones, including jumbo, standard, piezo pickup equipped and even some tones an acoustic couldn't naturally get. It might not be the real thing, but it's a good substitute for amateurs playing out at the bars who don't want to bring an acoustic with.
The Red Repeat 2016 Edition takes this old technology and brings it up to modern standards. The Echo control basically determines the amount of this effect, from barely noticeable, to sounding like two guitars playing at once slap-back. The Tone control changes the presence (EQ) of the echoed signal, leaving your original signal EQ the way you set it up. The Time control adjusts the space between your original signal and the echoed signal from 0 to 600 milliseconds, and finally, the Repeat control determines how many echoes there are from each signal. So again for guitar-players who need it super-simple, the Echo and Time controls tell you how much echo and how much space between echoes and the Tone and Repeat controls determine the actual presence of the echo and how many echoes there are. The Red Repeat 2016 Edition can be used to fatten up your sound, as an alternative to reverb, to give a very percussive flavor to your playing, all the way to the longest delays which you can play over top of, like a short loop. This type of effect has been used since the 50’s, and has helped shape the signature sounds of Les Paul, Chet Atkins, Gene Vincent, Brian Setzer, David Gilmour and countless others, and once you understand the effect, is usually pretty easy to spot in recordings. Remember, Delays can come before or after your distortion pedals, but usually after amplitude volume effects. For the new improved Red Repeat 2016 Edition, Carl has added a couple features that various players have asked about. To begin with, we have added a Tap Tempo function. For those familiar with delay pedals, the Tap Tempo allows the player to tap in the tempo he choses to use with his playing. Simply flip the switch that says Manual Time toward the name Red Repeat and with your toe, tap the footswitch marked Tap Tempo to the beat of the song. This allows your echoes to be spaced precisely with the tempo of the song, faster or slower, depending on your style. When The Manual Time switch is flipped away from the Red Repeat 2016 Edition decal, the pedal goes back to setting the space between echoes with the Time knob. The second special feature is the Modulation switch. By engaging this switch, and adjusting the black mini-pots marked Depth and Speed, you can modulate the echoes of your notes so that they mimick the ‘wow and flutter’ of a vintage tape echo. This subtle effect can bring a whole new dimension to your solo’s, especially if you want them to sound ‘old’.