The Warden is an optical compressor with a feature set usually reserved for studio grade units. Built with high grade components and internally powered by 18v, The Warden has loads of gain and sustain on tap. With complete control over attack, release, sustain and ratio, The Warden will allow everything from a heavy squash with fast attack and release to “barely there” subtle compression. Optical compression has a reputation for having more character than a VCA or FET based compression and The Warden is no exception. The Warden is true bypass and handmade with sweet loving care in Akron, Ohio.
The Dream Crusher is a germanium fuzz effect designed to make your guitar sound more awesome. There are two simple controls: Fuzz and Level. Fuzz Controls how sweet you want to sound and Level controls how much you want other people to hear how sweet you sound. Even though it has a simple interface, there are many tones and textures waiting to be unleashed. We recommend setting the Fuzz to taste then adjusting the Level to unity, roughly noon on the dial. Playing with a band? Bump up the Level a couple notches to make it extra rad. If being extra rad isn’t your thing, bring it all back down to zero and rip in silence. Your call chief. We also recommend placing it first in your signal chain and before any buffered pedals for optimal awesomeness.
Four stages of vintage OTA based phased shifting. Two LFO speeds that can go from painfully slow to blazing fast. Dry kill switch to get vibe/vibrato effect, depending on where the controls are set. Rate controls the speed of the LFO, extremely wide range in conjunction with the two mode switch. Depth controls the amount of phase shift mixed with the dry signal (not how the LFO shifts the filters) so you can get very subtle pseudo 2 stage through full on. Sweep controls the frequency range and resonance controls the regeneration which makes the effect more or less intense. The sweep and resonance have a large range and you can dial in classic subtle tones through over the top phasing.
Remember those built-in choppy tremolos associated with vintage amp designs from Valco and Vox? The Hummingbird is based off of the old Vox Repeat Percussion, but with modern improvements, including low signal/noise ratio, enhanced “chop”, and a broad range of speed adjustment. The Mode switch has two settings to give you a spectrum of options. Mode 1 is a slower mood-setting chop. Mode 2 can take the chop into the audio range of frequencies, earning its namesake, as well as creating bell-like modulations. Use the Depth control to govern the ratio of dry to chopped signal. The added Level knob allows you to adjust the overall volume of the affected signal to accommodate for any gain loss due to heavy chop. Add a little dirt to your tone before the Hummingbird to experience something magical. The Hummingbird is all analog, true bypass and handmade one at a time on a cloud in Akron, Ohio.
The Tone Reaper is a vintage style fuzz device based on the “3 knob” bender. It’s a silicon/germanium hybrid capable of producing an array of tones from every bender era with careful tweaking of the tone and fuzz controls. From thin and spitty to a growling crunch, all with a midrange punch to make it scratch and kick through any mix. The Tone Reaper will also please anyone looking for the higher gain Randy Rhodes style grind at it’s higher fuzz settings. All analog, true bypass and made one at a time by real humans in stuffy Akron, Ohio.
The Pitch Bay is a three part polyphonic harmonizer and distortion generator in one compact enclosure. It features two voices of adjustable polyphonic pitch shifting, one above the root and one below. Each voice can be adjusted by stepped semitones, from 1 semitone to 12 semitones (one full octave) above and below the root. Each voice (Pitch up, Pitch down and Root) has an adjustable mix control so they can be blended, cut or boosted to your hearts desire. The Pitch Bay also features an adjustable input gain that goes from clean to heavily distorted to unleash your inner hesher. This device has an all analog adjustable gain preamp, all analog signal path for the root, all digital pitch shifting engine and true bypass switching for activation. Each Pitch Bay is made one at a time by hand in the private beach front resort sector of Akron Ohio.
Our flag-ship device! The Hoof Fuzz is a germanium/silicon hybrid fuzz which is based on character of the classic green Russian muff. It is capable of creating everything from dirty and organic overdrive to monstrous fuzz madness. It features a smooth, natural and harmonically rich sustain that is less associated with muff style fuzzes and has more in common with an overdriven amplifier. The Hoof Fuzz has some real clarity and distinctiveness that provides a tight and controlled signal that will surely be heard through the mix. The Shift control is secret weapon of the Hoof. It changes the frequency response of the tone control, primarily on the treble side, but it also diminishes any unnecessary muddiness on the bass side too. Scoop the mids or boost them- lots of tonal shaping options are on tap! The Hoof Fuzz has become a key pedal for TONS of well known artists in both the studio and on stage. All analog, true bypass and made one at time by human hands in Akron, Ohio (the center of the universe).
The Organizer is a polyphonic organ emulator designed to mimic the organ tones of yesteryear crossed with the highly unique “Guitorgan”. It has a warm and very analog feel with a hint of Leslie warble that is unlike other modern octave shifters. It is simple to dial in and tracks chords as well as single notes perfectly all over the neck on both guitar and bass. Not only can the Organizer be used on strings, it has been widely used on everything from vocals and synths to horns and drums… If it makes sound, the Organizer can handle it! The Organizer uses a mix of analog and DSP circuitry with true bypass switching and an all analog dry signal path. It is made by hand, one at a time in dirty Akron, Ohio.
The Hoof Reaper features our popular Hoof and Tone Reaper fuzz pedals in one handy enclosure with the added bonus of an old school analog octave up. It was originally released as a special limited run item back in 2010 and demand was so high that we decided to reintroduce it back into our line. Capable of creating everything from subtle octave-up overtones through crushing octave squalls that simulate exploding stacks of amps. Each effect can be used individually as well as in series but the order of effects is preset for optimum performance.
Available switching combos:
Reaper + Octave
Hoof + Octave
Hoof + Reaper
Hoof + Reaper + Octave
This is a single germanium full range booster, co-produced by famous Grammy Award winning producer-writer-guitarist, John Shanks. Based on the Dallas Rangemaster, used by big names like Brian May, Eric Clapton, Richie Blackmore, and Tony Iommi, Vemuram put in some tweaks with the advice of John which then added a Sola Sound Tone Bender Professional mmii vibe, which Jimmy Page used to rock in Led Zeppelin, giving the Shanks a hybrid characteristic.
This is a 2 germanium transistor late 60′s Fuzz Face like overdrive booster. The range of tone is very large and can go from a firm and gorgeous clean tone to an edgy crunch boost. On top of that, turning up the Fuzz and Bass will get you a thick Fuzz Face like distortion. It is very touch sensitive so picking strength and guitar volume play a large role in expressing different tones.
Explore the galaxy of octavia, octave fuzz, clang, ring modulation, and sitar drone sounds. The OCTAVE CLANG is an octave up effect which uses a special selected transformer and matched Germanium Diodes to create it’s rich and pure analog octave up sound. This is an absolute crazy octave pedal. The sounds are lush and destructive and new. Bang! Bang! Wow!
THE SUPERSONIC FUZZ GUN IS A COMPLETELY UNIQUE AND HUGE SOUNDING FUZZ PEDAL. THE GOAL OF THE PEDAL WAS TO MAKE A FUZZ WITH THE CAPABILITY OF HAVING AN IMMENSE RANGE OF GREAT AND USABLE FUZZ SOUNDS. THE CONTROLS ARE COMPLETELY INTERACTIVE WITH EACH OTHER TO GIVE THE WIELDER AN INFINITE NUMBER OF GREAT TONES. THERE ARE EXTREMELY (AND I MEAN EXREMELY) HARSH SOUNDS AVAILABLE AND EXTREMELY (YES I MEAN IT AGAIN) WARM SOUNDS AVAILABLE. IT DOES IT ALL.
When we decided to create a studio-class pedal that faithfully recreates the classic, unmistakable sound of the most sought-after rotating speaker system, we prepared to study every nuance and finest detail. The Strymon sound design labs have been filled with those signature, swirling, three-dimensional sounds, as we painstakingly analyzed and recreated the physics and mechanics behind these systems.
Lex provides you with a complete, accurately reproduced rotary system: the low-frequency bass rotor, the rotating treble horn, the tube-driven amplifier, finely tuned microphone placement, and all the complex sonic interactions between these elements. Utilizing a ridiculously powerful SHARC DSP, every drop of processing power is harnessed to authentically represent these details.
You get eight parameters to tweak, allowing extensive control over the tonality and mechanics of the rotating speaker system. You can manipulate each element, from rotor speed, horn level, acceleration time, microphone distance, tube drive and saturation, and volume level. Go from a maelstrom of dramatic, up-close, sweeping and swirling sounds, all the way to mellow, tranquil and calming undulations. All of this without a giant cabinet, microphone setup, and costly motor maintenance.
When we set out to design Ola dBucket Chorus and Vibrato, we knew that we wanted to take a high-performance SHARC DSP and dedicate all of it’s horsepower to doing one thing—providing the most lush and organic chorus and vibrato sounds ever heard. Our hand-crafted, processor-intense dBucket algorithm delivers all of the warmth and sonic complexities of analog choruses and vibratos. We drew influence from some of our favorite vintage chorus effects and a certain little blue box vibrato with a strong cult following. Couple that with true bypass, a favorite preset, stereo input and output, and a super high quality analog front end and output section, and you have yourself a versatile chorus and vibrato workhorse.
The YETI™ is a massive, tight sounding fuzz that’s almost a distortion, so I decided to call it a ‘Fuzz-Stortion’. Anything from that sloppy 70’s fuzz to a modern high gain ‘wall of tone’ can be achieved with the YETI™. And with four switchable gain voicings the sonic possibilities are almost endless. Find him, listen to him howl and don’t be afraid to make him angry!
The Manhattan™ takes the idea of a classic analog flanger to another level. Based on the tried and true foundation of the Martini™ Chorus, the Manhattan™ redefines what a flanger should sound like. The Manhattan™ is not trying to copy or clone any existing flanger on the market although it can achieve all the classic tones we love along with much more. With the “Mix” depth and “Bourbon” feedback controls, the Manhattan™ can go from a glassy, beautiful analog chorus to an airplane like flanger all the way to a crazy, freakout modulator like no other. With this and the signature Tortuga dual foot-switchable rate controls, the Manhattan’s versatility is unmatched. Pull up a stool and get a taste of a classic Manhattan™.
•Foot-switchable dual rate controls
•Old stock bucket-brigade analog delay chip
•Internal 9v battery and external 9v power adaptor jack
•100% true bypass
•Sparkle silver powder coated aluminum enclosure
•Hand applied decals under a durable, glossy acrylic clear coat
•Hand made in the USA
•Enclosure Size: 3 5/8” x 4 5/8” x 1 1/4”
The Sasquatch™ Silicon is different tweak on his Germanium brother. The Silicon transistors give it a more aggressive and tighter tone than the Germanium version. The Sasquatch™ Silicon also beautifully cuts through the mix for solos and adds tons of warmth and low-end for everything else. Just like his brother, if you decide to ‘Make Him Mad’ you’ll tap into his freak-out mode which produces gain, feedback and overtones like you’ve never heard before. You can even manipulate the pitch and growl of the feedback with the controls on your guitar. The Sasquatch™ Silicon is the newest monster in the woods. Can you ‘find him’?
The Mai Tai™ is a beautiful take on a classic ‘script’ era phaser. It has a warm and sloshy midrange sweep that encompasses everything we want in a great phaser and even travels a bit into ‘vibe’ territory. As with any Tortuga effect, the Mai Tai™ does not take anything away from your tone; it only enhances it, makes it bigger and simply more lush. It also has a dual set of depth (Mix) and rate (Rum) controls that can be set separately and switched between so it’s like having two Mai Tais in one. I mean, we all know once you start, you can’t have just one Mai Tai™.
The Martini™ is a lush, analog chorus who’s tone is truly intoxicating. With two different speed controls that can be switched on the fly, The Martini™ acts as two completely different pedals in one. The second channel also has a switch for ‘Shaken’ or ‘Stirred’ to select either chorus or vibrato to add even more tonal combinations to the mix.
The Martini™ also features a real bucket-brigade analog delay chip at its core which gives it that true, old-school chorus warmth and swirl. So, belly up to the bar, skip the brew and instead, have yourself a classic Martini™.
With the Werewolf™, you won’t have to wait for a full moon to transform your tone. Capable of anything from a clean boost to a blues overdrive and even a metal crunch, this monster truly has it all. With two completely different gain circuits, each with dual foot-switchable gain controls, the sonic possibilities are almost endless. The Werewolf™ was also designed to blend seamlessly with a tube amp to enhance its tone and to provide the versatility needed for any style or situation. The Werewolf™ isn’t just another distortion box, it’s a true tone monster
The Rain Delay is a classic, digital echo and delay that will really get the crowd cheering. With dual, switchable rate controls, the Rain Delay can act like both a small room echo and a long solo delay at the push of a foot switch. It can also be run at 9v with the internal battery or external power supply for more of an analog warmth or up to 18v with external power for more headroom and clarity.
Foot-switchable Rate Control (“Home” 0-300ms, “Away” 200-600ms)
Internal 9v battery/ External power adaptor jack for 9v or 18v operation
100% true bypass
Hand wired in the USA
Enclosure Size: 3 5/8” x 4 5/8” x 1 1/4”
The Abduction™ may be the single greatest thing to happen to your sound. It was designed to blend beautifully with your tube amp to add richness and gain without sacrificing your original tone. With three completely different gain circuits, each with dual foot-switchable gain controls, the sonic possibilities are almost endless. The Abduction™ has two different sets of old-stock Germanium diodes at it’s core that add a depth and color not available from most overdrives. Also, with the addition of an internal ‘Kill’ voicing trim pot, you can truly customize your tone. So now you must ask yourself, are you ready for an out-of-this-world Abduction™?
In 2009, Suhr shipped their very first Riot distortion pedal. Riot became an overnight success, offering players the ability to transform a clean amp into a versatile Classic Rock tone machine.
Riot Reloaded is the result of countless hours of listening, testing, and tweaking our original distortion circuit to create a pedal that is amp-like, aggressive, in your face, and features more gain (30% more than our original Riot). Riot Reloaded is the ideal choice for players seeking Hi-Gain Rock, Metal, and drop tuning style tones.
In July of 2009, Suhr shipped their very first Shiba Drive pedal. Shiba was designed to provide players with a variety of fat rhythm and warm singing lead tones. The Shiba Drive gained great popularity among players seeking an overdrive pedal that could be used in conjunction with their amplifier’s clean or overdrive channels for added flexibility. Shiba Drive Reloaded is the result of countless hours of listening, testing, and tweaking our original overdrive circuit to create a pedal that is more amp-like, has a tighter low-end, focused mids, and features more gain (50% more than the original Shiba). Shiba Reloaded is the ideal choice for players seeking classic Blues, Jazz, and Rock style tones.
Koko Boost is a unique boost pedal that incorporates both a clean transparent boost and a selectable midrange boost. Koko will expand the range of your tube amplifier and Overdrive / Distortion pedals.
Koko Boost features an easy to tweak layout which includes Boost and Mid knobs, plus a Freq (Frequency) select switch. The two foot-switches allow instant access of each boost mode.
Jack Deville Electronics is proud to introduce the new standard in fuzz. Birthed from classic germanium fuzz circuit topology, the BUZZMASTER re-defines what is to be expected from a fuzz pedal.
Discrete germanium design produces tones ranging from raunchy vintage overdrive to contemporary chewy-fur, and even venturing into tight metal and doom territory, all while maintaining touch sensitivity, note attack and natural decay.
What if you could play your guitar in a desolate cave 20,000 leagues under the sea? I pondered this question as I designed the Dark Echo; and when the lab-coat came off, the wet-suit went on and lush echos trailed into oblivion, progressively darkening with every repeat. I dialed the repeat knob to maximum and I was up to my ears in a fluid wash of sound, ebbing and flowing like the tides of the ocean.
The Dark Echo embodies deep, dark delay with a very smooth, thick, and organic texture.
Included are controls for Delay Time, Repeats, Wet Blend, dynamic Sway modulation, and an internal trim-pot for output level.
Mod Zero is the all-in-one box that creates all types of modulation and some special “holy grail” tones that players have chased for years.
We have managed to get all your favorite tones and then some into this one box. No need to lug the rack gear and relics anymore. You’ve finally met your match, accept no substitutes. This is analog modulation at its finest.
100% pure analog modulation
Classic, contemporary and all new modulation tones
Through-Zero Flanging, Leslie, True Pitch-Shifting Vibrato, Chorus, Flanger, Phase and much more!
Versatile and intuitive controls