Kategoriarkiv: Effektpedaler og annet

electro-harmonix Switchblade+

The Switchblade+ offers a convenient solution to a player’s switching needs. Route your signal to either output A or B, or send it to both at once. Connect a tuner or effects pedal to its dedicated Tuner output. With a fully passive audio path and active LED indication, the new Switchblade+ is your utilitarian sidekick.

Quick Specs
Route your signal to output A or output B or both simultaneously
Easily switch between different pedal boards
The tuner jack is hardwired to the input jack and provides a direct output for a tuner or other effects regardless of the state of the unit
The audio path is completely passive
The Switchblade Plus can be powered by a 9 volt battery or 9VDC eliminator

Proco RAT JHS Mod

Proco Rat “Pack rat”

distortion / FUZZ

ALL JHS MODS HAVE BEEN DISCONTINUED AT THIS TIME

The RAT is one of the most classic and original designs in the history of effects pedals. Guitar legends and bedroom rockers have found the sound that they want from this little black box. As classic as it is, there is always room for some exceptional improvements. We start by replacing the horrible factory chip with a little discovery of our own that no one else is using in their RAT modifications. You can expect all the vibe and mojo of the old LMN308 but with less noise and a more well rounded response. This gives a real dynamic change in the pedal as well as clarity in the lower gain settings. Other improvements in the signal path are made by replacing the cheap bargain capacitors with metal film and tantalum caps, as well as a few value changes along the way for optimum bass response and smooth silky highs.

After all that’s done, we give you three clipping gain options (LEFT=vintage Si, MIDDLE=open boost, RIGHT=LED turbo RAT) with the flick of a mini toggle switch. You can get literally any sound you can think of out of this box when we’re finished. It makes a great clean boost, light overdrive, crunchy rhythm channel, heavy Marshal-ish grind, over the top fuzz and the list goes on! This is the only pedal on earth that can give you sustain for days with such clarity and character.

This is one of our favorite mods of all time!

The JHS Pedals ProCo RAT2 Pack Rat Mod takes the previous ProCo RAT distortion pedal to the next level of versatility and organic sounds. JHS has modified the original RAT2 pedal to include a higher quality microchip and improved capacitors that create a more rounded tone and organic response. JHS has also installed a 3-way toggle switch allowing you to choose from 3 different clipping modes. These modifications have made an iconic pedal even more versatile and responsive to player input, with a lower noise floor and smoother tonality. The Pack Rat Mod is JHS’s vision of what the original RAT distortion pedal should have been, and delivers classic distortion tones with a higher quality of tone and responsiveness.

Digitech Bad Monkey

The Bad Monkey Tube Overdrive gives your guitar amp a boost just when you need it. This rugged pedal produces the smooth natural character of an overdriven tube amp while maintaining your guitar’s distinct tone. Low and High tone controls give you the flexibility to boost or cut the bass and treble frequencies for just the right sound. Get a Bad Monkey and supercharge your amp’s tone.

Level boosts the output level of your guitar signal.
Low adjusts boost and cut of bass frequencies.
High adjusts boost and cut of upper harmonics.
Gain provides smooth tube amp distortion to your sound.

Dual Outputs. The Amp output is for connecting directly to a guitar amplifier. The Mixer output features Cabinet Emulation circuitry for connecting directly to a mixing board or recording device.

Behringer EQ700

Ultimate 7-Band Graphic Equalizer

  • Shape your sound and eliminate feedback with 7 bands of equalization
  • This Behringer product has been designed to compete head to head with leading products on the market
  • Wide frequency range from 100 Hz to 6.4 kHz with a powerful 15 dB boost/cut per band
  • Status LED for effect on/off and battery check
  • Runs on 9 V battery or the Behringer PSU-SB DC power supply (not included)
  • First-class electronic on/off switch for highest signal integrity in bypass mode
  • Designed and engineered in Germany



Master of Tone

With 15 dB of available boost or cut per band, the EQ700’s seven frequency bands were carefully optimized to provide the ultimate tools for EQ’ing your guitar. Of course, to make full use of the EQ700’s capabilities, it helps to first understand some basics about the frequency range of your axe. The EQ700 covers the audio spectrum from below 100 Hz to over 6.4 kHz, allowing you to effectively cut or boost a slew of frequencies to help bring focus to your sound. Special attention has been paid to the critical midrange frequencies, which can easily make or break your tone. The following section offers tips that will have you sculpting the perfect guitar sound in no time at all.


How Does Equalization Work?

Imagine the audio frequency range as a very wide highway with lots of “lanes”. Each of these lanes represents a specific frequency band. The lanes on the left side contain the really low frequency content, mainly bass, bass vocals, and the kick and tom drums The middle lanes make up the fundamental zone of most musical instruments and the male and female vocals The right-hand lanes have all the high- frequency stuff, such as snare drums, cymbals, higher pitched percussion instruments and the content that adds sizzle to the mix


Applying EQ to the Guitar

Most acoustic and electric guitar energy lies between 100 Hz and 6.4 kHz. Even slight changes in this range can cause a tremendous variation in overall energy and impact, as the human ear is especially sensitive to this range. Boosting frequencies around 200 Hz – 400 Hz often provides warmth and body, while boosting frequencies in the 3.2 kHz – 6.4 kHz range adds clarity to clean guitar signals. Depending on the amount of distortion, this same range can ruin the sound of an overdriven electric guitar by adding harsh harmonics. One of the most common mistakes is adding too much bass to acoustic guitars. If the low frequencies are boosted excessively, acoustics can easily get lost in the overall mix. Most acoustic guitars are also prone to feedback in the 200 Hz – 400 Hz range. A general rule of thumb – the best results are often achieved by finding and reducing the frequency bands that are offending, and then turning up the overall volume, rather than boosting one specific band.


How the specific frequency bands of the EQ700 can shape your sound:

100 Hz (low bass) Boost: To add fullness to guitars, especially clean electrics Cut: To reduce muddy or boomy tone and control acoustic guitar feedback 200 Hz (soft bass) Boost: To increase the warmth of all guitars and provide a slightly harder sound Cut: To increase clarity and reduce feedback in acoustic guitars 400 Hz (hard bass) Boost: To add definition to rhythm parts Cut: To reduce feedback in acoustic guitars (This is a major feedback zone for piezo-equipped flattops) 800 Hz Boost: To add an aggressive edge to the overall sound Cut: For reducing the nasal or horn-like content, often referred to as the “cheap guitar” syndrome 1.6 kHz Boost: To make the guitar cut through the mix. Creates a more distinctive plucked tone Cut: To eliminate dullness and competition with vocals (vocal fundamentals occupy the range from about 1.0 kHz – 2.5 kHz) 3.2 kHz Boost: To add significant attack to all guitars. Creates an even more distinctive plucked tone Cut: To eliminate harshness 6.4 kHz Boost: To add edge and increase brightness to all guitars Cut: To soften thin-sounding guitars and remove string squeak

G212 Vintage

2×12″ kabinett med Celestion Vintage 30 høytalere fra Harley Benton

2 × 12″ guitar cabinet, closed back
16 mm plywood housing
Celestion Vintage 30 speakers
2 × 1/4“ phone input sockets
Black tolex, white piping
2 × big flush-mounted carrying handles

120 W (mono) or 2 × 60 W (stereo)
8 / 16 Ω

Vintage 30

Boss Metal Zone

Kjøpte min første MT-2 på 90 tallet når den kom. Henger fortsatt med av sentimentale grunner.

A very wide range of distortion sounds with 3-band EQ and strong sustain.

The MT-2 Metal Zone is one of BOSS’ most popular pedals. This stompbox provides some of the most over-the-top, insane distortion tones in the world—with huge mids and lows and an ultra-saturated sound.

Incredible-sounding distortion pedal with unique dual-gain circuitry
Provides super-long sustain and heavy mids and lows like a stack of overdriven amps
Three-band EQ with semi-parametric Mid control offers a wide range of extreme distortion textures

MXR Carbon Copy

The MXR Carbon Copy Analog Delay goes from crisp «bathroom» slap echoes to epic, Gilmouresque delays.

Featuring 600ms of delay time with optional modulation, and a three-knob layout that controls Delay, Mix, and Regen. In addition, there are two internal trim pots that offer user-adjustable width and rate control of the modulation for even more tonal options.

All done by a completely analog audio path for authentic rich, warm analog delay—made possible only by old-school analog bucket brigade technology.

Carl Martin PlexiTone

The new single channel Carl Martin PlexiTone was designed in association with Pete Thorn, and is housed in a small pedal-board friendly housing with 3 knobs and 1 switch. Apart from Pete’s slight modifications that give this new pedal a tighter bottom-end and slightly softer high frequencies, it is exactly the same gain structure as the High Gain setting on the original Pro-Series PlexiTone….it just plays better with different amps.

The single Plexi also incorporates our new DC-DC converter circuitry, so the pedal can be powered by a regulated 9V Power Supply but will still operate on the same +-12V level as the original AC powered PlexiTone. This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series stand out from the rest!

The Level knob adjusts the overall level of the Plexi-
Tone. By adjusting this knob (in conjunction with the
gain) you can match or exceed the bypass signal for
rhythm or solo work.

The Drive knob adjusts the amount of overdrive, from
light crunch; at full counter-clockwise, to full, fat overdrive
with loads of sustain at full clockwise…. and
everything in between. Regardless of the amount of
overdrive, the PlexiTone always produces those great
Brittish tones that seem to cut right through the mix in
both live and recording sessions.

The Tone knob on the PlexiTone, is a high cut filter.
With the knob set at full clockwise, you enjoy the
full bandwidth of frequencies, so as you turn the
knob counter clockwise, you start to filter out the
high frequencies. This allows you to fine tune your
tone regardless of which guitar/pickup you are
using. You might find at high gain settings that
reducing the highs will tighten up the sound, and at
lower gain settings, the high frequencies will add
some bite and crispness to your notes.

DOD Carcosa Fuzz

The DOD Carcosa Fuzz is a doorway into an alternate fuzz universe, where classic tones of legend coexist with splattered and shattered Pollock abstractions. Combining the Carcosa’s wide-ranging AFTER bias control with two toggle positions creates tones that range from porcine fatness to dessicated shards. This versatility makes the Carcosa Fuzz a good companion for dirty or clean amps. True bypass, tons of output, and the visage of the King in Yellow sets the stage for fuzzy madness.

The DOD Carcosa Fuzz has an exaggerated mid-range and treble character that help it stand out in a mix. It has been designed to cut through a dense and heavy band but still have great note articulation with chords. However, when extreme bias (AFTER) ranges are selected many wild and over-the-top sounds are possible

BEFORE – Increases/Decreases the amount of fuzz.

OUTPUT – Increases/Decreases the overall output level, there is a lot of level here so this can be used as a boost.

AFTER – Bias Control changes the texture of the fuzz. Counter-clockwise attains loud and woody fuzz tones that clean up with the guitar volume knob, and full clockwise attains splatty and broken fuzz tones and horn-like vowel sounds and sustain. Middle-ranges go from familiar classic to more modern wall-of-sound fuzz voicings.

HI-CUT – Reduces the amount of high-frequency detail. Start at the 9:00 position and adjust counter-clockwise for brighter pickups, and clockwise for darker pickups. Don’t be afraid to use the extreme ranges of this control since changes to the AFTER bias control also change the tone of the fuzz. You may find higher volume boost settings or stage levels will also require high-frequency adjustment.

DEMHE/HALI – Use the DEMHE voicing (Up Toggle Position) for a bass and low-mid boost which works great for clean channel usage. Use the HALI voicing (Down Toggle Position) for a bass cut that works great for dirty channel usage.