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Please don’t park here anymore…
East-Coast Party Fuzz with Dual-Width HPF/Treble Booster
Neon Black is a ratty and ragged Party Fuzz paired with a two-flavored treble booster. Fuzz and boost are independently switchable with baby-soft relay bypass switches.
Why a ‘Party Fuzz’? It’s obnoxious, it’s a little unpredictable, and it’s very loud. Sweep the tone knob to hear the bright nights and dark lights. There are seven crazy NPN transistors shouting at each other inside. Doesn’t clean up. Fuzz knob controls the level of dirt, taking you from ‘morning after’ disheveled all the way to ‘forfeited the security deposit’ squalor.
The fuzz circuit is fed into one of two independent high-pass filter/treble booster circuits.
**Switch to the left cuts a notch of low frequencies and boosts a narrow band of upper-mid frequencies. This gives a resonant and nasal character to the boost.
**Switch to the right boosts a wider and ‘more traditionally treble’ band of upper-mid and high frequencies. This is the louder and dirtier side of the boost circuit.
Welcome to the party! Keep your shoes on please.
This is going to be a loud one.
TMA-1 (or, Jupiter: and Beyond the Infinite)
Deepspace Rhythmic Signal Supercollider
Unstable, Insane, Volatile. Two fat transformers inside wrestling with a PLL tone decoder. The decoder chip is used as a ring modulator/carrier frequency generator, in turn modulating the ring modulated sound. Yep, it’s a ring-modulator, fed into a ring-modulator.
The Anomaly knob sets the carrier frequency, from dirty lo-fi tones to screaming rhythmic Martian anarchy.
The Lux/Aeterna switch doubles the carrier frequency and switches from the analog carrier modulating the input signal and instead assigns the input signal to modulate the carrier. The result is faster modulation and a brighter, sharper timbre.
The Infinity footswitch allows for even greater levels of insanity by allowing crosstalk between the ring-modulators, the Infinity control allows you to adjust the level of argument between the two.
The mixer section gives independent control of the effect level, clean signal, and blend between the two.
This is the machine to summon the Starchild!
The Spectrum is a hand-wired mid-gain overdrive box, in the family of hard-clipping distortions. What makes it special? Versatility and range. Clarity and dynamics.
One feature that makes it shine is an internal charge pump, taking a standard 9V power supply and doubling the voltage. The awesome result is a spacious headroom that gives life and energy to low and mid gain settings.
The inspirational range of the distortion control works hand in hand with the cut control, which is a wide-sweeping low pass filter.
The Spectrum has a unique claim to have musical and usable settings at every point on each of its controls.
A message in secret eyebeams touching…
BRUTAL SHINING DARKNESS
The Black Tooth is a high gain, hard clipping distortion with a clangy analog octave up and a MOSFET booster all raucously crammed into one tidy little box.
The distortion section is modeled after the iconic rodent distortion unit, supercharged for hard clipping and high gain. The original circuit uses a single pair of silicon diodes for a tight, compressed crunchiness. The Black Tooth adds two additional clipping options to better adapt to different rigs. The first position lifts the diodes from the circuit to allow for full, open, grinding op-amp assault at maximum volume. The second position adds two silicon diodes and one LED in an asymmetrical clipping configuration. This delivers a slightly compressed and smooth crunch, similar to a valve amplifier. The third position is the stock double silicon diode configuration.
The Octave section is a classic ‘green’ style analog full-wave rectifier circuit built on Germanium diodes. Like all analog octave effects, it is monophonic and works best playing single notes above the twelfth fret while using the neck pickup.
The BOOST section is a simple MOSFET booster designed to blast the front end of a tube preamp. It is a 100% clean, high impedance boost that adds very little color. It has plenty of output to push your tubes into saturation.
The signal path goes Octave>Distortion>Boost. The octave distortion and booster can be used independently with their own respective footswitches.
MAXIMUM VOLUME YIELDS MAXIMUM RESULTS.
TOXIC DELAY DEVICE
This little monster’s name is Glow Cloud. It’s not an easy machine to categorize, it’s a melange of drive, lo-fi delay, and noise maker. It will process external signals like guitars, keyboards, microphones, and drum machines or it can create complex sounds on its own. It is equal parts melodic and chaotic.
Analog style, lo-fi and borderline anti-fidelity delays (courtesy of the infamous PT2399 chip) sewer pipe echoes, eerie bit-crusher memories, and tectonic disturbance noise chaos. Oh, and also some short and resonant lo-fi reverb.
The noise/oscillation features are the wildest things Glow Cloud has to offer. The echo time sweep has been set much lower than the standard delay pedal. When the Shmog control is turned up, the sound breaks up into blipping squeals and screeches. Combine this with distortion and feedback tones and a reverse decay setting and you’ve got a huge gamut and range of complex drone power.
Landmarks and Anti-landmarks; episodes of intentional blindness
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