The Echo-Puss Analog Delay delivers up to 600ms of organic delay with Tone and Blend controls and a fully tweakable LFO modulation circuit so you can add a liquid texture to the delay signal.

The Cry Baby Junior Wah features front-mounted jacks and an 8" housing for clean configurations on the world's most popular boards so that you don’t have to choose between a tidy layout and your Cry Baby Wah fix.

The RC-500 is an essential partner for guitarists, singer/songwriters, multi-instrumentalists, and anyone who wants to take their looping to the next level. Craft real-time compositions with two loop tracks, mic and stereo instrument inputs, rhythms, and inspiring Loop FX, all backed by premium 32-bit audio quality. Store loops in onboard memories, and explore expanded operation with external controls and MIDI. Filled with next-generation Loop Station features, the RC-500 gives serious creators the tools they need to develop new ideas and deliver impactful performances that will leave audiences wanting more.

Bracket for mounting Cioks DC8, DC10, AC10, TC10, and Pussy Power version 1.1 and 1.2 under Pedaltrain Classic and Novo.

If you have a CIOKS C4 Pedalboard Power Supply and a Pedaltrain Pedalboard, you're missing out on a great opportunity! Pick up a CIOKS GRIP Mini Bracket, and you'll be able to mount the power supply in no time at all. This durable metal bracket comes with pre-drilled mounting holes for easy installation. The CIOKS GRIP Mini Bracket is intended for use with Pedaltrain pedalboards and the CIOKS C4 Pedalboard Power Supply. So what are you waiting for? Take the power supply off the top of your board and store it on the bottom to make room for more stompboxes!

Anyone who has ever built a pedalboard knows the following the following decision has to be made at some point during the assembly process: how should the power supply be mounted and should it be on top of the board or below it? A traditional way of attaching the PSU to the top of the board is by using Velcro which is also what most players use to attach their pedals to their boards. This has its obvious advantages: the PSU can be mounted securely, you can see if it is working properly and routing the cables to the individual pedals is a simple job.

The RockBoard® pedalboard series is based on the innovations of our completely re-designed pedalboard series and incorporates a lot of added features, based on suggestions from musicians all around the world. The ingenious, lightweight, rigid and rugged construction, based on only one sheet of cold-rolled aluminum and U-shaped vertical support braces for additional stability, as well as the innovative slot-based design lets you hide cables easily for a neat and tidy design, all stay the same.

The Lysis MKII is finally here! Is it a fuzz pedal, an octave, a sweeping filter, some kind of synth machine? YES!!

While the Western world was preoccupied with its Fuzz Faces, Tone Benders and others, the Eastern world was bubbling up with plenty of fuzzes of its own. This very distinct era in fuzz history gave us many treasures that have been crowned fuzz legends—the Univox Super Fuzz, Ibanez Standard Fuzz, Ace Tone Fuzz Master, Shin-Ei Companion and several others.

The ODR-mini delivers creamy, natural overdrive – Everything from pushed clean amp tones to gain filled stacks! It has the same tones as its legendary brother – the ODR-1. You‘ll love the warm mid-gain tones for rock and blues, and the screaming hard rock sounds from the ODR-1 Mini. Plus the mini features true-bypass switching, the SPECTRUM pot with mid-click, fluorescent pointers on the “GitD“ – knobs (Glow-in-the-Dark). Guaranteed to be a BIG part of your sound while a small part of your pedal board.

Expression Ramper allows you to pick two expression settings and move between them, either in one motion or as a continuous LFO activated by a footswitch. The mini enclosure size takes up minimal space while creating new sounds out of any pedal with an expression input.

Welcome to the new SolidGoldFX EM-III Multi-Head Octave Echo; the smallest, most powerful and by far the most versatile SolidGoldFX delay pedal to date.

Building on SGFX’s Electroman Delay legacy, the EM-III manages to both echo the past, present and future. With EM-III’s wide-ranging yet ultra-intuitive control set, placing warm analog-voiced echoes, precise and modern delays, as well as experimental and futuristic sound designs, are all just a single stomp away. 

Main Features List

• Multi-Head Tape Delay pedal, with Octave and Modulation
• 70 to 1000 milliseconds delay time with Tap Tempo
• Color Knob - for crisp and bright tape echo to murky lo-fi analog repeats
• Warp feature - for instant self-oscillation Wall-of-Sound Swells
• Glitch feature - replicates snapping tape sounds
• Switchable True Bypass/ Buffered Trails modes
• Top-mounted jacks - for ease of pedalboard mounting
• Hand-made in Montreal, Canada
• Powered by a regular 9V DC PSU

(centre -, 2,1 mm, ~70 mA current draw)

 At your feet (or fingers) you have a multi-head tape style echo, with the ability to add in a signal an octave lower to the primary delay head. This can result in dancing, rhythmic delays with body and gravitas, as well as bold washy soundscapes. These two core features are controlled via a single mini-toggle. Flick it left to select between 1, 2 or 3 delay heads or flick it right to toggle the octave effect on and off. From there, just set your Delay Level, Repeats and Time via the knobs or tap in your preferred tempo via the soft-click tap tempo switch and let the good echo times roll.

The EM-III also sports delay modulation introduced via the Flutter control. Keep it at center position for no modulation. Dial it left for a slow and dreamy chorus-like modulation or right for a faster vibrato, letting you create lush oceanic movement, tape-style crinkles, eerie tension and beautiful dissonance.

The color knob allows you to engage both high-pass and low-pass filtering. Dead-center you have a pristine full-frequency digital delay. Dial it to the left and you cut the highs, creating warm, murky analog-esque repeats. Dial it to the right and you suck out the lows for crisp and bright tape-style repeats or super thin lo-fi delays.

The EM-III also brings interactive warp and glitch features to the tonal table by pressing and holding either Tap, Bypass or both at the same time. Hold Tap to increase the repeats until self-oscillation, creating a swelling wall of sound. Hold Bypass to replicate the sound of a tape motor on the fritz and a tape reel snapping, or hold both for glorious noise seances that will act as the perfect song/set closer.

Additional features include soft-touch, relay based, true bypass switching with the option of buffered trails, top jacks and up to a full second of delay time.

The EM-III is designed to inspire and evoke emotion. It can sound as pretty and cheerful or as dark and macabre as you wish. We invite you to tune up, plug in and immerse yourself in the EM-III experience.

The 76 Plus takes inspiration from the lauded Univox Super Fuzz, Shin-Ei Companion and Ibanez Standard Fuzz. It’s a powerful, cutting fuzz with a baked-in octave up that’s especially apparent the higher you go up the fretboard. Do you like fuzz? Then you’ll especially like this fuzz. Promise.

But what reallymakes this pedal special is the inclusion of an independent wah-like filter that’s as tasty as it is useable—yes, this is that “Plus” I’d alluded to... The filter section of the 76 Plus offers a mind-boggling number of ways to add movement to your tone, from triangle and sawtooth waveforms, to 2, 3 and 4-step sequences. 

This filter speed can be dialed in perfectly via the speed knob or for you control-freaks, you can use an external expression pedal (not included) to give you infinitely variable control. We don’t like to “box you in,” so we gave you both options—do what you dig, cool guy.

The Synth-1 allows you to create fuzzed-out synth waves!  Use the Filter and Blend controls to mix your guitar with the fuzz from the synth.  Go from churning slow-gear reverse swells to sounding like a light saber.

The Keeley Synth-1 is a guitar-triggered, single-note wave generator.  You control the tone of the wave with the Filter Control.  The lead-in time or swell of the note is controlled with the Attack knob.  Then use the Blend control to remove the natural tone from your guitar as you slide through synth-sounding fuzz waves.  Use an expression pedal to control the Filter, and now you have Wah-Wah-like control of the Synth-1.

• Synth Wave Generator – Create fuzzed-out, single note synth sounds
• Reverse Attack – Volume Swell Effect – put your guitar in slow gear!
• Chaos Switch – change dimensional triggering and octaves and stuff
• Filter – shape the EQ and tone of your fuzz wave
• Wave Selector – change wave modes on the fly with your foot!
• Control the Blend of your natural guitar and the wave generator
• Side Mount Expression Jack for TRS control of the Filter
• Top Mounted Jacks, True-Bypass
• Designed and Made in the USA

There’s no doubt that the Fuzz Face and Tone Bender share the crown for “most important fuzz.” Just as many iconic records were cut with the Bender as the Fuzz Face, and each original unit commands scads of money in the used marketplace. And with all the reliability issues that plague vintage models, does there exist a silicon Tone Bender MKII?

Who among us doesn’t love a good Fuzz Face? If there’s one pedal that captures the soul of classic rock, the Fuzz Face is probably it. For those unfamiliar with Fuzz Face lore, as germanium parts fell out of vogue due to reliability issues, Dallas-Arbiter shifted to silicon parts. Both versions were used extensively on thousands of records.