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.
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.
Hand-built 120-Watt hi-gain
amplifier driven by 4 x 5881 tubes (now fully compatible with 6L6
and EL34, etc.)
Classic split channel preamp
design (Clean, Lead) featuring 3 x ECC83 tubes for 90’s metal rock
Integrated high-class reverb with
dedicated Reverb controls for each channel
Revolutionary INFINIUM Tube Life
Multiplier technology:– Extends the life of your amplifier’s
expensive power tubes up to 20 times.– Provides incredible
reliability and consistent tone over the complete lifespan of your
tubes – No need for expensive matched tube sets– Allows you to
mix and match any combination of compatible tube types and brands –
Monitors performance of each power tube continuously and displays
defective tubes to allow for easy and individual replacement
Vintage Equalizer section with
dedicated Bass, Mid, Treble and Presence controls
Power switch to select between pentode or triode (60 Watt)
FX Loop with dedicated Level control
Frequency compensated Recording output
Heavy-duty footswitch for Channel selection and Reverb included
Impedance switch (4, 8 and 16 Ohms) to match virtually any speaker cabinet
TONY’S BACKSTAGE AMP.
The TI15-112 takes all the raw power and tone of the TI100’s high gain channel and crams it into a compact single channel all tube amp.
Utilizing Laney’s unique dual wattage input option means you can push the EL84 output section hard and get 15 watts rms of full on tone or plug into the «less than 1 watt» and get exactly that – your same great tone but at less than 1 watt.
SPEAKER EMULATED RECORD OUT
The TI15-112 also features the cool flexibility of being able to record both silently, for late night recording sessions or in live situations via the SPEAKER EMULATED RECORD OUT feature on the rear panel.
The TI15-112 is finished of in Tony’s trade mark black and cross livery.
Inputs 1x Jack 15 Watts & 1x Jack 1 Watt Power 15W Channels Single IOMMI channel Channel Controls Pre-Boost, Volume, Drive Equalisation Bass, Middle,Treble, Dynamics and Tone Preamp Valves 3x ECC83 Output Valves 2x EL84 Class AB Footswitch Boss FS-5L FX Loop(s) Yes – variable level FX loop Driver 12″ Custom HH driver
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.
The Demon Tube Screamer is made on the basis of the classic original TS9 and TS808, the most popular vintage overdrives. We take these two models together in one shell, 2 effects in 1, perfect upgraded, using the best quality components and the same circuit as the original one, and it’s made with plug-in components only, not SMD technology, so it is close to the original sound as they come.
Using a two-Position switch to change between the TS9 and TS808.
Features： One two-position switch: TS9 overdrive and TS808 overdrive Updated IC: JRC4558D Drive control LEVEL control Tone control True bypass switch 100% analog signal path On/Off LED indicator