One of the most sought-after dual overdrive pedals produced in the mid ’90s is now in one unique pedal design-with a pocket size. NUX Horseman pays homage to the legendary Centaur pedal. There are 3 dials for primary settings and 2 modes: Gold and Silver, and it offers massive headway usually requiring an 18v input.
Gold Mode mimics its classic predecessor; the transparent Gold Centaur overdrive pedal and the Silver Mode is a powered-up version with an extended gain range (Silver Centaur).
Gold and Silver modes：2 independent pedal sound in one mini stomp box Gain, Treble and Output Controls Voltage Converter Optional：True Bypass / Buffer Bypass Power：9V Negative Tip
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
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.
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.
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