Manufacturer Index

Beautiful & Bold The 1981 DRV No3 is technically the only pedal 1981 sell. That hasn't stopped them from becoming one of the most popular boutique manufacturers of the past 5 years!Available in many different colours, all DRV's follow the same overall aphetic ... 3 knobs, 1 footswitch, great looks, amazing tones. Inspired by vintage RAT's, Matthew (1981) teamed up with Jon Ashley of Bondi Effects to develop a pedal which had more to offer in the lower gain ranges while still maintaining the raw power RATs are known for when the taps are opened. The DRV also features an internal voltage pump to jump us up to 18v producing more headroom and in turn a difference in dynamics. Compare this to our vintage RATs and other RAT inspired pedals only on TonePedia

It Actually Smells Like Cinnamon! The team over at Aclam has a great ear for re-producing amp-like tones in a pedal. They've done this by following amp circuits and swapping out the Valves/Tubes for FETs which behave in a very similar way but are much smaller. On the Cinnamon drive however the aim wasn't to replicate a single amp, instead, it's the sound of an era. The '60s and '70s saw the likes of Hendrix, Clapton, and many many more pushing their amps like never before, so by using a mixture of a soft-clipping circuit as the main tone and a hard-clipping circuit in the boost section you can recreate your favourite classic rock tones to an epic degree!Oh and did we mention, it smells like cinnamon. 

Tones You Never Knew You Knew Aclam has been extremely successful in creating amazing tones of classic famous rigs outside of the normal "Marshall in a box" territory. The Cinnamon drive focused on tones of an era where-as Dr. Roberts unlocked George Harrison's tones from Sg. Peppers all of which we've grown up with. Now ... it's the turn of The Who, and in particular Pete Townsend's secret tone device. You may have heard how some guitarists such as Jimmy Page used the preamp of an Echo Plex delay to thicken up their tone and to give their amps a nice push!? Well, Pete Townsend got his unique tones around '67 from the pre-amp of a reverb unit called the Grampian 636 Spring Reverb. The Windmiller is Aclam's recreation of this extremely rare reverbs pre-amp, they've fine-tuned it to remove the original phenomenal amount of hiss and it now works well with all types of amps and pick-up types. Each of the Aclam pedals is a slice of history recreated for you to recreate on your board.  

The Woman ToneThe Woman Tone from Aclam is an overdrive with a twist. Aclam has been making pedals to reproduce specific musical moments in history for some time. This new release is in the same vein as their other pedals while simultaneously being in a  new and exciting direction for them.Woman ToneThe Woman Tone replicates Eric Clapton's Cream era tone which many people think is simply a case of turning down the guitar's tone knob. The truth is unless you're running a PAF-loaded 60's SG into a 100W Plexi then your tone control alone won't get you there. The striking visuals may seem a little familiar and there's a good reason for this! Marijke Koger, the artist behind Clapton's iconic "The Fool" SG also designed the art for this pedal. Now that's some heritage, paired with Aclam's great form factor and unique pedalboard system this looks great. Special featuresThe Woman Tone isn't just an overdrive, thanks to these features it offers much more:Pickup Simulator - This is designed to create the Gibson PAF tones from Clapton's SG.Woman Tone - Just like Eric did, roll down for "that" tone. This is also foot-switchable making woman solos super easy to kick in. Plexi Style OD - Turning this up will provide that Marshall aggression which changed music in the 60s. Remember though, Clapton didn't use much gain!Vintage ToneAll in all this pedal is aimed at those looking to have the Woman Tone in a box. Most of the people buying this pedal will be fans of Clapton or those who need to get that tone in a covers band of sorts. But there's so much more this pedal has to offer and in the right hands, this can easily become the signature tone for modern artists. The Woman tone switch aside this still replicates an SG into a Plexi which has been used by artists from Mark Bolan to Page to Slash and much further. This pedal has much more to offer than it first seems and we can't wait to hear how you use it. 

Tube sounding bass overdrive. With Agro Aguilar has built an overdrive pedal specifically for the bass. Agro is an AG500 saturation channel based pedal effect that provides a warm tube-sounding overdrive & distortion. This pedal has 4 separated knobs - Level, Saturation, Presence and Contour - and a true bypass. Agro offers a rich overdrive and distortion sound without losing the powerful low ends.

Octamising Octave on Bass is such a tradition tone that it's hard to imagine a bass players pedalboard without one. This pedal hit the market in 2009 and has been seen on boards throughout the bass world since, in part that is due to how simple to use yet variable it it is. Basically the pedal is split into two halves, clean and octave. On the Clean side the tone adjusts the bass/ treble mix allowing you to match or counterpoise the octave effect against the Octave Filter control which adjusts the octave from sharp and aggressive through to bold clear subs.The results are anything from subtle through to synth tones which is why this pedal is so popular.

Do Not Eat This Pedal! Aguilar have tagged this lush modulation with one of the best dad jokes we’re heard in at least the last few days! â€œSome pedals are born grape, other pedals have grapeness thrust upon them!” We hope someone got a raise for that! Aguilar dedicated bass pedals are designed to retain all low end and dynamics of your rig when in both bypass mode and engaged, this is great news as sometimes phasers can suck a lot of tone. Use the rate knob to go from slow sweeping 70’s psychedelic tones through to bubbly prog tones. The colour knob controls the regen by feeding signal back into certain phase stages. Try all this for yourselves and let us know your favourite settings on our facebook page. 

A Multi FX But Not As You Know It Analog Alien are one of those companies which have a lot of character, the bright colours of their pedals, the cartoony graphics, that name!Run by brothers Jack & Joe Napoli the company came about as a result of their recording studio Cloud 9 based on Long Island. Jack & Joe have recorded many huge artists who use their pedals today. The brothers wanted gear to gear the right sound people wanted in the studio and once created everyone they worked with wanted to buy one. Analog Alien's Rumble Seat pedal features Drive, Delay and Reverb all in one. The drive section is designed to sound like a 60's Plexi and has a powerful tone stack allowing you to dial in just the right tone to match your rig. The Delay side of things is a very warm analog delay perfectly matching the other effects. Finally the single knob reverb has done all the hard tone dialling work for you so the player simply decides how much is needed.From low gain boost through to overdrive edging on distortion this is one serious pedal, the delay and reverb make this the sort of pedal you keep as a backup in case your full board ever fails .... but it sounds so great you may end up using this instead!

Rocky Mountain EaglesJoe Walsh has had quite a career right!? Not only is he a guitarist in one of the all time greatest classic rock bands "The Eagles" but he's also had a great solo career.He's most popular solo track "life's Been Good" pretty much says it all, i.e this man could command anything he want's within the music industry and beyond. So when he chose Analog Alien to create this pedal after playing some of their other great gear it's truly a testament to the Analog Alien boys overall quality and capabilities. Run by brothers Jack & Joe Napoli the company came about as a result of their recording studio Cloud 9 based on Long Island. Jack & Joe have recorded many huge artists who use their pedals today. The brothers wanted gear to gear the right sound people wanted in the studio and once created everyone they worked with wanted to buy one. Though we've categorised this pedal under Overdrives it's about a 40/60 blend of compressor to overdrive mix, use the compressor to tighten up and push the pedals drive or switch to "post" and boost your drive while pushing the front end of your amp. This pedal is very simple but also very versatile.

Perfect Bass Flyrig Analog Alien are one of those companies which have a lot of character, the bright colours of their pedals, the cartoony graphics, that name!Run by brothers Jack & Joe Napoli the company came about as a result of their recording studio Cloud 9 based on Long Island. Jack & Joe have recorded many huge artists who use their pedals today. The brothers wanted gear to gear the right sound people wanted in the studio and once created everyone they worked with wanted to buy one. The Alien Bass Station (ABS for short) is split up into three effects:-Amp generator which is based on an old Supro super thunderbolt with a touch of  b15 mixed in.-Limiter similar to the stand alone Alien Comp but tuned slightly differently to work perfectly in this pedal.-The Gamma fuzz is an Ic based fuzz, the lower you go the fuzzier it gets and the higher you go the more distortion like it sounds.This is the perfect tool to have on your board with the mind of taking off and popping it in a gig bag for smaller gigs/ open mic nights or if you have to fly!

Stacked Not Switched Today's market includes a multitude of double pedals, since the release of Analog Mans King Of Tone the world and their father have offered up drives and fuzzes with a second switchable circuit. This surely crossed Anasounds mind when they teamed up with Julien Bitoun to produce their dual fuzz circuit. But let's be straight here, this is fuzz! Fuzz isn’t about your dynamics or preserving transparency. Fuzz is about making as much noise ad possible. The Bitoun Fuzz rams one fuzz straight into the other giving you just two knobs and a bypass switch ... BOOM. Taking inspiration from 60’s super fuzz designs while addressing “lost in the mix” syndrome, this is a pedal all fuzz lovers have to try!  

ADDC ... Not quite Normally amp style pedals are aimed at a specific amp or player and in a way the High Voltage from Anasounds is both. Occasionally though we see something which isn't quite a signature bit of gear but more a way of capturing a moment in time. The tones of AC/DC are Rock music perfection, a Marshall Plexi pushed to its limits with humbuckers as heard on the iconic album Its A Long Way To The Top.Anasounds analysed the rhythm tones here to recreate them in a stomp box which finally became the Anasounds High Voltage. But wait ... did it work, how does it sound ... Have a play with the tonepedia player and compare it to pedals such as the original Marshall pedals and the Carl Martin Plexi tone. You decide which sounds best to you! 

It has its ups and downs Anasounds define tremolo as "a cyclical volume variation from the original volume to a decreased version (all the way to the extreme version of the effect which completely cuts the sound in a rhythmic fashion) following a set tempo."TonePedia defines tremolo as "That lovely warming movement heard in many songs and you never even knew it was there"Tremolo is one of those effects most players feel they can live without ... until they try it. Anasounds have worked hard to maintain your original signal, using no digital witchcraft in the signal chain but there is some digital magic in the controls. This allows for some cool tricks including tap tempo, subdivisions, kill dry, self-oscillation by holding down the tap footswitch, and most innovative of all .. you can easily update this analog pedal with new and improved chips Anasounds will offer along the road. Use the Anasounds Optical Tremolo with the spinner expression pedal to get effects never before possible!Try this alongside the Ages harmonic tremolo from Anasounds and many others on TonePedia 

Be unique! Everyone plays a dreadnought / OM / Jumbo and so on... Why not trying something different ?!? The Andrew White EOS is a sweet little guitar with emphasise on the overall midrange and semi quick attack thanks to the Jatoba (or in it's other name: Brazilian Cherry) back, sides and top. The EOS narrow hip shape is sits well when playing seated and the guitar's overall weight is well balanced.

Sparkle! And then some more sparkle. One chord is all you need in order to find out how much open end and sparkle the Andrew White Freja 100 NAT has. It is a lovely Jatoba body, Sitka Spruce top guitar which is brilliant for pick arpeggios, flat picking, fingerpicking and so on. The Freja 100 NAT is well built, playing wise it is a comfy and pretty straight forward. We like it.

Andrew White's take on pre war dreadnoughts. The Decker's Creek collection is where you will find Andrew White's appreciation and homage for the old pre war Martin and Gibson guitars. The Dreadnought 110 is a Rosewood body & solid Sitka Spruce top guitar with a lot of projection and healthy balance. The D110 is perfect for the pick player.

The budget Telecaster. With the 615 Frontier Aria allows to those who seek to get a decent Telecaster guitar without investing thousands of dollars, to get what they're after. The Frontier is a simple guitar, just like the traditional tele. Two single coil pickups, 3-way selector and solid body, no over the top features, only pure tone. The Aria 615 Frontier sports a Basswood body, Walnut fingerboard and is offered in a variety of finishes.

Affordable and versatile. The Aria PE 350 is priced at ±400$ and for the price it is a great guitar really. Aria is known for crafting good guitars at an affordable price and the PE 350 is a great example for that. The Basswood body on the PE 350 is thinner than a usual Les Paul, thus the guitar has a lighter weight. The neck and body are joined using a heel-less construction, creating a smooth transition and enhanced playability on the upper part of the scale. The two Aria humbuckers on the Aria PE 350 are open and "airy", they compliment the guitar and are relatively versatile. Again, the Aria PE 350 is a great guitar for the price!

LOW LOw Low low As part of the PRO FX 9 volt range of effects pedals designed for guitarists and bass players which Ashdown consider to be some of the best sounding pedals they've have ever designed. The SUB Harmonic Generator is simple yet effective, with blend-able subs/cleans you can add a subtle fatness or go full out vintage synth.

Split Drive This is a very clever pedal designed to work for both guitar & bass. The two gain controls focus on different parts of the tone, bass and treble respectively. This allows players to sculpt their drive tones perfectly to match the tone in their head and the rig they're playing.More and more drives are taking this type of approach recently and Ashdown certainly have done it extremely well.

Incredible for fingerstyle. Thanks to Atkin's scalloped bracing system, the LG47 produces a loud and healthy tone despite being a small bodied guitar. This, along with the choice of woods, make the Atkin LG47 not only great for fingerstyle, which is the bread and butter of this guitar, but also for flat picking, hybrid picking and light strumming when backing vocals for example. In hand, the LG47 feels light and fun to play. Atkin Guitars chose (wisely in our opinion) to feature on this guitar their standard C shape neck instead of the common baseball bat neck size found on vintage Gibson LG examples. In our opinion you will find the Atkin LG47 a great singer songwriter companion. We also think that this guitar will work well with an L.R Baggs system, should you decide to amplify your Atkin LG47 guitar down the road.

A more affordable version of the Atkins Forty-Three. This Banner era style guitar is the brainchild of two great companies, a guitar luthier and a shop. The Fellowship Of Acoustics, one of the biggest acoustic guitar shops in Europe begged Atkin Guitars to create a more affordable version of the Atkin Guitars Forty-Three Relic guitar. The result, the Atkin Guitars J-Amazing the 45 sunburst, has left us in awe. We really like this guitar and although we could not compare it to the actual Forty-Three or original Banner era Gibson J45, we can tell you that it has a vintage, full, beautiful and inspiring sound.

Reviving the Roy Smeck Stage Deluxe. The Atkin Guitars Hawaiian Master is built after the scarce Gibson Roy Smeck Stage Deluxe signature model of the '30s. The jumbo sized original guitar was a 12 fret flat top, set up with high string action for slide playing. The Atkin Hawaiian master shares similar characteristics but come with standard string action for contemporary playing. The lightly braced torrified spruce top and mahogany body in combination with the short scale length delivers a superb tone which left us in awe. Thanks to the 1.75" / 45mm nut width and 2.25" / 58mm string spacing, the Atkin Guitars Hawaiian Master Roy Smeck fits perfectly for fingerpicking, ragtime, flat picking and hybrid. That is not to say you cannot strum it of course, it can definitely strum too! What a fine 12 fret dreadnought model.

What a cool cat sounds like. Bassart guitars is a one man show, run by the German luthier Mathias Meyer. The perfect composition of playability, uniqueness and down-to-earth approach of Matthias make Bassart guitars great instruments. The D CAT Custom Deluxe is beautifully made, from the second we took it out of the case and till the moment we finished the demos this guitar did not go out of tune which is rare. It is a heavy guitar with a healthy sustain and full sound. The combination of the Khaya body and the Häussel Humbuckers is making this guitar a great rock guitar. It has guts, yet it's subtle.Playability wise the guitar is ready to rock and rock hard. The neck is fast and it is really easy to play just about anything you'd like to play. One must take into account though, the Bassart D CAT Custom Deluxe is not a lightweight guitar! But that's where the tone is...

True grit. Bassart guitars is a one man show, run by the German luthier Mathias Meyer. The perfect composition of playability, uniqueness and down-to-earth approach of Matthias make Bassart guitars great instruments. The Roaddog is all the way, Malcolm Young kind of guitar (only with a tremolo). It is dry and has a great attack which come really handy when playing rhythm. You will not get endless sustain from the Roaddog, it is not that kind of a guitar.It is a mid weight guitar with a two action truss, matt finish and two Gretsch Filtertron pickups. The Roaddog is a great example of how a guitar can appear down to earth without being too fancy, yet play and sound top notch. It is that kind of a guitar you will wanna take on the stage, on the road and never put back in the case.

Caramel Bursting Out Of the Roaring 20's When we talk about classic guitars we often refer to 50's and 60's Les Paul's, Strat's and Tele's mainly because this was when solid body guitars really became mainstream and were picked up by so many artists we still celebrate today. However its true to say that most decades had there shining moments (NO 70's, NOT YOU... Bad 70's).Many forget the evolution of the acoustic guitar went through many changes prior to World War 2. As an example parlour/folk style guitars became more popular in the 20's but as the decade came to a close the great depression began. What Barton Rouge hasn't done is copy a group of guitars from the 20's, what they have done instead is create a range inspired by instruments from the era ... very clever. Similar to car manufacturers who create classic cars with reliable engines, electric windows and air conditioning Barton Rouge have used their expertise to provide the reliability, tones and overall quality at unbelievably low prices yet the style and feel from the 20's.This example comes in the beautiful "Caramel Burst" finish and features a spruce top, mahogany sides and at current prices is around €279 ... yet just listen to it, compare it against full fledge similar guitars which can fetch thousands. What do you think?Let us know on facebook, Instagram etc by hitting the share now button 

Sun Bursting Out Of the Roaring 20's When we talk about classic guitars we often refer to 50's and 60's Les Paul's, Strat's and Tele's mainly because this was when solid body guitars really became mainstream and were picked up by so many artists we still celebrate today. However its true to say that most decades had there shining moments (NO 70's, NOT YOU... Bad 70's).Many forget the evolution of the acoustic guitar went through many changes prior to World War 2. As an example parlour/folk style guitars became more popular in the 20's but as the decade came to a close the great depression began. What Barton Rouge hasn't done is copy a group of guitars from the 20's, what they have done instead is create a range inspired by instruments from the era ... very clever. Similar to car manufacturers who create classic cars with reliable engines, electric windows and air conditioning Barton Rouge have used their expertise to provide the reliability, tones and overall quality at unbelievably low prices yet the style and feel from the 20's.This example comes in the beautiful Sunburst finish and features a spruce top, mahogany sides and at current prices is around €339 ... yet just listen to it, compare it against full fledge similar guitars which can fetch thousands. What do you think?Let us know on facebook, Instagram etc by hitting the share now button 

What A Great Looking TopThe X11S/OMCE-BT's flat black top ofsets against the cream binding in such a beautiful manner. Flip the guitar over and she looks like a totally different guitar yet still just as strikingly beautiful. Featuring a solid spruce top, mahogany back & sides and at a very affordable price ... yet just listen to it, compare it against full fledge similar guitars which can fetch thousands. What do you think?Many forget the evolution of the acoustic guitar went through many changes prior to World War 2. As an example parlour/folk style guitars became more popular in the 20's but as the decade came to a close the great depression began. What Barton Rouge hasn't done is copy a group of guitars from the 20's, what they have done instead is create a range inspired by instruments from the era ... very clever. Similar to car manufacturers who create classic cars with reliable engines, electric windows and air conditioning Barton Rouge have used their expertise to provide the reliability, tones and overall quality at unbelievably low prices yet the style and feel from the 20's.

Buzz Buzz Pop Pop The term Fuzz has become very generic over the years, even the difference between a fuzz face and Big Muff is fairly large but when we start to look at more gated high gain fuzzes featuring octave switching it becomes an entire different ball game.The Vezzpa is definitely of the later and purposely so. Beetronics amusingly refer to the tone as "wasp like" and to be fair to them this is pretty accurate at high gain settings, however when you turn the sustain down the pedal becomes spitty and poppy ... not unlike a Vespa Scooter ... you see what they did there!?Very clever use of the footswitch gives the player lots of options via different presses for example with the pedal engaged hit the the switch twice quickly to switch the upper octave on/off, Beetronics calls this "Stinger Mode" . Another great idea is when the pedal is bypassed, if you press and hold the footswitch the pedal will only engage until you release it (momentary mode).Of course its also possible to use this just like a normal pedal by just using the switch as normal to turn the pedal on/off. All in all this is a great new addition to the fuzz world which we're pleased to bring you on release day!

A Buzzing Good Drive  Let us establish a fact, the term overdrive encompasses a huge range of tones. These tones in turn can be put into sub-genres and so on. What really makes a huge difference is how the clipping of the tone is achieved, don’t worry we’re not about to get technical.  It's widely agreed that Fet drives sound the most amp-like, this is because Fets behave like a valve/tube so the break up (clipping) you hear is far more natural. And so it is that we have here the Fatbee overdrive from Beetronics, a new JFET-based drive with a surprising heritage.  This pedal is a result of a collaboration with a pedal legend, Mr. Howard Davis. This man is responsible for many of the Electro Harmonix golden era pedals including the Deluxe Memory Man and Deluxe Electric Mistress, so you can expect good things! From our demo you can clearly hear how the pedal has plenty of gain on tap but doesn’t get fizzy, instead, it manages to maintain clarity and raw clear crunch tones most of the way. At higher levels, the Fatbee becomes a little fuzz (buzz?) like which can be(e) great fun.  Just like an amp, the fatbee responds well to playing dynamics and different guitars which gives the player great versatility from a three-knob pedal.  

BI-Polar-driveThe pedal industry as a whole revolves around several different circuits and their variations, some companies work hard to break the boundaries such as the likes of TC Electronic but most companies look at what sells and add their own spin/USP to the products.With Behringer, USP is often price, but with some of their pedals, it's available! You see some of the clone pedals Behringer makes are no longer available from their original manufacturers and the second-hand prices can be silly.The BOSS OD-2 is a current production pedal that the OD200 replicates. What's really cool about this circuit is the mode knob which at one end is a full mid push overdrive tone and at the other end is a more mid-scooped distortion type tone. The beauty of this is the in-between tones which allow for so many great normally unheard flavours. 

All Fuzz Fans Need To Own ThisThe pedal industry as a whole revolves around several different circuits and their variations, some companies work hard to break the boundaries such as the likes of TC Electronic but most companies look at what sells and add their own spin/USP to the products.With Behringer, USP is often price, but with some of their pedals, it's available! You see some of the clone pedals Behringer makes are no longer available from their original manufacturers and the second-hand prices can be silly.The BOSS FZ-2 is a fuzz which people have asked for a re-issue of for many years since it was discontinued in 1997. The Super Fuzz is an almost exact copy providing all of Univox Superfuzz style glory and classic fuzz tones but also a HUGE modern fuzz wall of sound style fuzz which once experienced can take days to recover from!Then there's the secret mode! Unique to the Behringer, jamming the switch between fuzz 1 and fuzz 2 initiates both circuits providing one of the most BRUTAL tones ever heard by man-kind. To hear this simply select the Strandberg guitar and hold on for dear life!

Chorus By The Dozen The pedal industry as a whole revolves around several different circuits and their variations, some companies work hard to break the boundaries such as the likes of TC Electronic but most companies look at what sells and add their own spin/USP to the products.With Behringer that USP is often price which means that players just starting out have the opportunity to try more gear and find their own "flavour" without investing thousands into what may be wrong for them. One such pedal is the UC200 based on the Boss CH-5, both of which benefit greatly from volume and tone controls. These are not often found on choruses which helps this stand out from the crowd! 

It's the new old guitar. The story of the Little Sister guitar began from the puzzling question of how the early delta bluesmen were able to fascinate a listener with only one guitar and their simple, yet soulful vocal lines.Understanding that these players fat and throaty guitar tone often came from playing small body Parlor guitars, made us decide to uncover the secret of these instruments and embark on a journey back to the crossroads. While obsessively collecting all sorts of original guitars from the 1920s and ‘30s, that many times were in poor condition and needed a complete restoration, we began to create the special design that would best approach the guitar sound we had become hooked on.We wanted to create an instrument that would be versatile enough for players who use a pick, and for players who are finger stylists. It needed to be superior in terms of playability, and it had to be gimmick free. It had to be lightweight, comfortable and unique; Ultimately, we decided that it should be a small body parlor guitar because these were the instruments that we kept playing again and again.And if she looks like a jewel it's because she was designed by jewelry artist David Weizman who also handcrafts the brass hardware.

An inspiring instrument. The B&G Little Sister private build made a huge impact since it's first appear in 2014. Building handmade guitars takes time and has it's costs, that makes them less accessible to all players. With that in mind, the B&G Little Sister Crossroads was born, Asia-manufactured variant of the Little Sister that provides classic B&G looks and construction at a more affordable cost.B&G, by all means, did not compromise on tone. The Little Sister Crossroads (cutaway and non-cutaway) is built out of quality tone-woods - African Mahogany body and neck, Indian Rosewood fingerboard and solid Maple top. It is finished using UV finish which compliments the sound characteristics of the wood. Factory-made solid brass hardware made it possible to maintain the familiar look and similar tonal qualities to the Little Sister Private Build.The Little Sister Crossroads is without a doubt an inspiring instrument. 

It's the new old guitar.  The story of the Little Sister guitar began from the puzzling question of how the early delta bluesmen were able to fascinate a listener with only one guitar and their simple, yet soulful vocal lines.Understanding that these players fat and throaty guitar tone often came from playing small body Parlor guitars, made us decide to uncover the secret of these instruments and embark on a journey back to the crossroads. While obsessively collecting all sorts of original guitars from the 1920s and ‘30s, that many times were in poor condition and needed a complete restoration, we began to create the special design that would best approach the guitar sound we had become hooked on.We wanted to create an instrument that would be versatile enough for players who use a pick, and for players who are finger stylists. It needed to be superior in terms of playability, and it had to be gimmick free. It had to be lightweight, comfortable and unique; Ultimately, we decided that it should be a small body parlor guitar because these were the instruments that we kept playing again and again.And if she looks like a jewel it's because she was designed by jewelry artist David Weizman who also handcrafts the brass hardware.

From clean tube boost to a fat tube distortion, the Blackstar HT Drive is a one mean machine. The guitar's best friend is the amp, preferably a tube amp. Cranking the gain stage up and letting the tubes do their work driving your sound. Problem is, tube amps can be sensitive to transportation and usually are pretty heavy. Gladly, Blackstar got us all covered with their HT-Drive.The HT Drive is a valve overdrive, which can be used as a clean boost as well as a screaming valve distortion. It uses a Class A tone control which makes sure your guitar tone stays as natural as it is and in combination with Blackstar's ISF control you can set your tone exactly as you want it to be.One feature on the HT Drive we absolutely love is the Speaker emulated output. What it means is, that you can plug the HT-Drive straight to a PA or your DAW, and enjoy a great tube amp style sound without actually carrying your amp around.

Classic tremolo. Compact pedal. The BOSS TR-2 Tremolo is designed to provide guitarists with classic tremolo effects in an easy-to-use compact pedal. Dedicated "Wave," "Rate," and "Depth" knobs provide a multitude of effect possibilities, you can really fine tune the BOSS TR-2 to your liking. It is low on knobs but really lacks nothing as when it comes to versatility.

Multi-Dimensional Processing, intuitive layout and low noise ratio are making the BOSS CP-1X a prime guitar compressor pedal effect! The CP-1X is a result of BOSS taking their compressors to the next level. Thanks to their MDP technology along with the 18 volt electronics the CP-1X is a dynamic and transparent compressor with enough headroom to keep your signal clean and tight. The intelligent circuit of the CP-1X analyses the player's signal and applies compression based on that to each frequency differently, resulting in musicality which resembles a studio compressor than a guitar pedal compressor. Often, guitar players find it difficult to set the right amount of compression they seek for, with the BOSS CP-1X this task comes easy, thanks to the gain reduction indicator which displays how much compression is being applied. Simply put, the BOSS CP-1X is a great compressor and we recommend trying it out.

The chorus you always wanted! In BOSS' portfolio several chorus pedals can be found. The legendary CE-1, The CE-2 which is now available under the Waza Craft series and more. What differs the CE-5 Chorus Ensemble from the rest is that it lasts, and for a reason! The BOSS CE-5 is considered as one of the most versatile chorus pedals the Japanese company ever made thanks to the high and low filters and the wide frequency range it provides. The shimmer of this pedal is sweet and it does not fall in the "flat" trap many chorus pedals do. There is a mild confusion as to wether the CE-5 is digital or analog and both are correct: The BOSS CE-5 started it's life as an analog pedal, but after 2001 the circuit was changed to digital. The one you hear on TonePedia as a brand new one, hence, digital.

The pedalboard friendly AC Tone. The Single Channel AC-Tone is a smaller pedal-board friendly, single channel version of the original Pro-Series AC-Tone. It features 3 knobs and 1 switch and has a slightly beefed up Gain section, but shares the very same tone as its big brother! The single AC-Tone 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 AC-Tone.This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series pedals stand out from the rest!

From the days when colouring your sound was not a sin. Welcome to the Classic Optical Compressor: a 100% analog old-school compressor from the days where colouring was an important factor to the sound. The four controls (from left to right) are the Gain, which controls the ‘pre-glow’ of the optical circuit (the more you turn this up, the fatter the sound); Level, which controls the overall volume of the compressor; Compression, which controls how hard or soft the compression is, and the Attack control which takes the signal from transparent to outright total squeeze. A short time with this compressor will allow you to find some of those classic guitar sounds which may somehow have escaped you before. Again, like all the Vintage pedals, the Classic Optical Compressor comes in a solid diecast housing with cool chicken-head knobs, CM colour and graphics and a 9V battery compartment. Due to the nature of compressors, we highly recommend a regulated power supply (like the CM ProPower) or a large stock of batteries.

When less can be more. Following the success of the Carl Martin Plexitone and the single channel Plexitone, the guys at Carl Martin and Pete Thorn designed a new version that can cope with variable voltage and AC/DC power supplies. The PlexiTone Lo Gain was designed with the amp and guitar in mind, unlike his brother, the single channel PlexiTone, it is lower on gain and can drive your amp to get that natural saturated sound you seek. That being said - it can definitely kick ass once you dial the Gain knob clock wise above the middle point! The pedal works well with different pickup types and is in general a very straight forward, easy to use and versatile pedal.The demos of the PlexiTone Lo Gain on TonePedia were recorded with the pedal being fed by 9V DC power supply.

AN2 EC SSO Silver (Silky) Oak isn't actually an Oak, in facts it's closer to the sycamore family. Don't let the colour lure you into thinking this is a cold sounding guitar however as the Silky Oak has excellent bass/mid/treble balance and a very transparent midrange register.  The overall sound seems to have a less aggressive edge with a few more delicate nuances than normally used woods. The issue with most acoustic guitar pick ups is they sound little to nothing like the original tone of the guitar itself, this is what Cole Clark aims to fix with the PG3.The approach is simple, different types of acoustic pick up systems have specific strengths and weaknesses, Cole Clark uses 3 different types and only relies on the strengths of each.Using a Face Sensor for the mid range, an under bridge Piezo for the low end and an in body condenser microphone to capture the highs, therefore removing the familiar Piezo "zing".

AN2 EC RDBL Redwood is an extremely high quality guitar wood which you could characterize the tone of as being crisper than cedar while retaining all the rich, complex overtones of cedar has to offer. The Cole Clark AN2 EC RDBL also features all solid Australian Blackwood back and sides, grand auditorium body shape, She Oak fingerboard and then we have Cole Clark's new PG3 pick up system. The approach is quite simple, different types of acoustic pick up systems have specific strengths and weaknesses, Cole Clark uses 3 different types and only relies on the strengths of each.Using a Face Sensor for the mid range, an under bridge Piezo for the low end and an in body condenser microphone to capture the highs, therefore removing the familiar Piezo "zing".The player can fine tune all of this from the simple to use control panel to suit the room they’re playing in. Additionally the FC button allows players to switch between the previous iteration of the system or to take advantage of the PG3's upgrades.

AN2 EC-BB Blackwood is the most sturdy timber Cole Clark uses, therefore it is a pretty popular wood choice among percussive style guitar players. The Cole Clark AN2 EC-BB features all solid Australian Blackwood back, sides, with a Bunya Top in this grand auditorium body shape. Bunya topped guitars characteristically have a direct, strong sounding instruments with more midrange compared to spruce guitars.And then we have the icing on the acoustic cake, Cole Clark's new PG3 pick up system. The issue with most acoustic guitar pick ups is they sound little to nothing like the original tone of the guitar itself, this is what Cole Clark aims to fix with the PG3.The approach is simple, different types of acoustic pick up systems have specific strengths and weaknesses, Cole Clark uses 3 different types and only relies on the strengths of each.Using a Face Sensor for the mid range, an under bridge Piezo for the low end and an in body condenser microphone to capture the highs, therefore removing the familiar Piezo "zing".The player can fine tune all of this from the simple to use control panel to suit the room they’re playing in. Additionally the FC button allows players to switch between the previous iteration of the system or to take advantage of the PG3's upgrades.

A Supa beast! Man, what is there in these vintage pedals that make them sound so good?! First note on the Colorsound (Sola Sound) Supa Tonebender and we were blown away by a powerful and organic fuzz tones. Believe it or not, Sola Sound built the Supa Tonebender as a clone of EHX's 1973 notorious Ram's Head Big Muff. It seem that their goal was to build an exact clone but at the end they modified the circuit a bit. Some websites claim that Jimmy Page used the Supa Tonebender, we think he only used the previous Sola Sound Tonebender versions from the late '60s. One notable guitar player that did use the Colorsound Supa Tonebender is Steve Hackett from Genesis who apparently had a lot of fun using this unit.

A perfect first. Starting the journey of guitar playing is exciting, and a crucial point in it is the guitar you choose to start with. The Cordoba C5 is a great choice, it is comfortable to play, not too expensive and delivers great tones. It is a handmade guitar, with Mahogany body and solid Cedar top and comes with quality Savarez strings. Yes, it is a 400$ range guitar, but one that will not make one struggle with the first chord.

Solid top and solid sound at a great price. The Earth series by Cort is liked by many, we can totally understand why. The Cort Earth 100 for example has a solid Sitka Spruce top, Mahogany body and a sweet woody sound for an average price of 300$. Also, it comes in several different colours as black, natural and sunburst. The guitar comes from the factory with a slightly high action and we do recommend asking the shop you buy from to adjust it for a more comfortable playing experience. Beginners and anyone who is in the market for a guitar at that price range, do check out the Cort Earth 100.

Jumbo indeed, and full of low/mid range. The Crafter JE-18/N is a joy to strum and extremely loud. Crafter uses a nice solid cedar wood for the top and the craftsmanship is nice. The guitar plays smoothly, neck shape is comfy and the guitar all in all is nicely set. When plugging it you immediately enjoy using the L.R. Baggs LR-T NX system, which uses their under.the-saddle element pickup (which we love).The LCD tuner is really easy to use and makes your life easier on the stage, the eq on the preamp helps you get your sound right and is quite versatile. If you're in the market for a boomy & loud guitar, consider the Crafter JE-18/N. 

Crafter DE-8/N - When affordability meets great craftmanship. When it comes to price/value ratio , no one can overlook Crafter's great guitars. The Korean company which began it's way in the 70's is a major player in today's mid level range guitars.The DE-8/N is one of their most known models. It features Solid Engelmann spruce top and mahogany back and sides, gloss finish, Indian rosewood fretboard and a 43mm nut width.One of the main characteristics of the DE-8/N is how responsive and airy it is, thanks to the thin braces Crafter uses. The spruce top compliments the bit darker sound of the mahogany body.It's safe to say that this guitar is more on the dry, woody side of the scale. It feels very natural in a good way.The DE-8/N comes with an LR Baggs Element undersaddle pickup combined with their LR-T-RX preamp – four-band EQ plus phase and a tuner.Crafter understands the need of us musicians to control and shape our tone to our liking and their choice of preamp proves it. adjusting your tone is pretty easy and exact, the big LCD is pretty handy when tuning the guitar.

An all maple electro-acoustic guitar with the right looks and price! When it comes to price/value ratio , no one can overlook Crafter's great guitars. The Korean company which began it's way in the 70's is a major player in today's mid level range guitars.The GCL-80 is a cool looking grand auditorium guitar which is equipped with an L.R Baggs system id order to get you where you want when playing on stage.The all maple body and top gives the Crafter GCL-80 a sweet mellow sound with subtle low end. The result is a guitar that plays nice with other instruments and on stage. Crafter's 43mm nut and solid C shape neck making it easier to switch chords smoothly, and the attack of the maple body helps the lightest string picking be heard.Like other models offered by Crafter, the GCL-80 is equipped with an L.R Baggs system an is easy to work with on stage.

Perhaps the most sought after Fuzz Face reissue. The birth of the Crest Audio Fuzz Face was, simply put ... beautiful. It all started in the mid 80’s with a Crest Audio QC technician, Dave Fox. Dave had found a broken Dallas Industries Fuzz Face at work, noticed on his pay check that Dallas Industries were his employers, and there you go – Dave realised he was working for the inventor of the Fuzz Face. Being a Hendrix fan, Dave proposed the idea of reissuing the legendary Fuzz Face, thankfully management liked his idea and the rest is history. The Crest Audio Fuzz Face is a roaring beast which we love. It has full bodied gain and works fantastically for lead as well as the obligatory power chords. This particular specimen uses BC109C silicon transistors. Crest Audio built approximately 2000 Fuzz Face reissues and these are still somewhat cheaper than the '60s and '70s originals. So if you are a Fuzz Face fan, be sure to get your hands on the next Crest Audio Fuzz Face you see out there. How does it compare to the original Dallas Arbiter Fuzz Face or later Dunlop reissues you ask? Compare them all on our player today.

Just breathe. You’re not seeing things. The EX-175 is the only D’Angelico archtop equipped with a Bigsby vibrato. With a strong, crisp low-end and a fiercely cranky high-end, the EX-175 is made for players seeking the new rock edge D’Angelico provides. The Bigsby allows for anything from glassy shimmers to warped dizzy-spells, while the roller bridge guarantees stable tuning. Dare to be dynamic: the EX-175 is resilient to feedback and can be pushed harder than most archtops while still maintaining clarity. Its ultra-slim taper neck makes for supreme comfort, whether you’re blazing through gained-up note-heavy licks or carefully articulating fingerpicked lines.

Much style. Much sound. The EX-DC is D’Angelico’s response to the rising popularity of the double-cutaway semi-hollow electric guitar. Powered by dual Kent Armstrong humbuckers, the EX-DC was designed with versatility in mind, offering a marriage of enveloping fullness and vivid high-end that never gets tinny. Its heavier body is balanced wonderfully by the signature D’Angelico headstock, while its standard neck shape and medium jumbo frets make for great comfort. Never short on style, the EX-DC is also available with a gold stairstep tailpiece and comes in a variety of colors, including a striking seafoam green.

The perfect live guitar. The EX-SS packs a lot of punch in its 15-inch body, the smallest of all the D’Angelico archtops. Truly a versatile instrument, the EX-SS boasts a rich, full-bodied low-end when on the neck pickup, and a powerful mid-range on the bridge pickup. High-output Kent Armstrong humbuckers deliver crisp attack and balanced resonance, making the EX-SS perfect for live settings. The signature D’Angelico stairstep trapeze-style tailpiece offers style and purpose, providing comfortable string tension for bluesy bends. The EX-SS shines when kept clean or boosted with overdrive, ideal for RnB, jazz, rock, and all the nameless places in between.

The real deal... One of the most iconic pedals of our time is with no doubt the Dallas Arbiter Fuzz Face. It was issued in 1966 and was quickly favoured by many musicians of the era. The first version used germanium transistors, but due to them getting too hot too quick, Dallas Arbiter moved around 1969 to use silicon transistors. The unit we have here is an all original one dated to 1969. It uses the BC108C transistors, same like the one Jimi Hendrix used from around "Band Of Gypsys" till his death (although his unit is told to be modified). Also David Gilmour used a BC108C equipped unit since 1971 more or less. These units do not sound all the same, so treat this demo of the Dallas Arbiter Fuzz Face as one example of many. We will try to demo more for you.

Little Red RangerKent Armstrong is the second generation of guitar wizards the Armstrong family has produced, indeed Kent's own son Aaron now famously creates pickups too and Kent's father Dan ran a great guitar repair shop in New York City. With such a lineage it’s unsurprising to learn that their pickups are some of the best in the world and have been used by greats such as Jimmy Page, Rory Gallagher, Matt Bellamy and even members of the TonePedia team have them in some of their own favourite guitars. Kent himself worked alongside the world famous pickup designer Bill Lawrence before moving to the UK. During the 60’s Kent released a range of guitar effects which plug straight into this guitar’s input and this is one of them! The Red Ranger has a three position switch which allows the user to select between full-range, bass or treble boosts.The "Full" position adds 13db of clean boost across the full frequency range. The "Treble" position produces an additional 12db and the "Bass" position pushes the bass end by a total of 22db without holding back the treble. The "Bass" and "Treble" positions are similar to regular tone controls except that they operate by boosting the desired frequencies rather than cutting out the undesired ones. The Red Ranger also features a low 300 ohm Output Impedance in all three switch positions to eliminate signal loss and hum pick-up in long cables.

The Yellow Hump ... er Kent Armstrong is the second generation of guitar wizards the Armstrong family has produced, indeed Kent's own son Aaron now famously creates pickups too and Kent's father Dan ran a great guitar repair shop in New York City. With such a lineage it’s unsurprising to learn that their pickups are some of the best in the world and have been used by greats such as Jimmy Page, Rory Gallagher, Matt Bellamy and even members of the TonePedia team have them in some of their own favourite guitars. Kent himself worked alongside the world famous pickup designer Bill Lawrence before moving to the UK. During the 60’s Kent released a range of guitar effects which plug straight into this guitar’s input and this is one of them!The Yellow Humper was designed specifically with bass guitarists in mind however it sounds great on guitar too! Select a single 7 db peak or hump in the frequency response at 100 Hz to give the instrument a very solid bottom range in position 1. Position 2 provides the same low end peak plus a 10 db peak at 2000 Hz providing overtones and presence. Like the Purple Peaker, the Yellow Humper improves the signal even in the "Off' switch position due to its low 200 Output Impedance. 

Blue Clipperoo Kent Armstrong is the second generation of guitar wizards the Armstrong family has produced, indeed Kent's own son Aaron now famously creates pickups too and Kent's father Dan ran a great guitar repair shop in New York City. With such a lineage it’s unsurprising to learn that their pickups are some of the best in the world and have been used by greats such as Jimmy Page, Rory Gallagher, Matt Bellamy and even members of the TonePedia team have them in some of their own favourite guitars. Kent himself worked alongside the world famous pickup designer Bill Lawrence before moving to the UK. During the 60’s Kent released a range of guitar effects which plug straight into this guitar’s input and this is one of them!The Blue Clipper is an excellent fuzz-tone with incredible sustain.Dan Armstrong Sound Modifiers are a range of simple, compact, and rugged accessories that can be used with any electrified instrument. They are designed to plug directly into the output of a guitar or bass guitar to give the player fingertip control of the sound, but they work just as well plugged into an electric keyboard or the output of any electronic accessory. 

Classic Tones - Modern Control This 3699 is based on a Foxx Tone Machine which had a much more complex circuit than the standard fuzzes of the era and included an octave up on a toggle switch. Interestingly Danelectro is now owned by Steve Ridinger, the man who created the original Tone Machine in 1971.The Octave is now footswitchable and the pedal features a mid push toggle switch for cutting through a mix nicely.

YALED ESREVER The strange thing about reverse delay is you'd think it would sound terrible, but it doesn't!When considered it makes sense, the repeats are in time, in key and manage to create an interesting echo different enough to sit tastefully in a mix.The original Back Talk was loved by its users and gathered a cult following, the new version features NOS parts the same as the previous unit however in a more hardwearing and pedalboard friendly enclosure. How would you use this effect?

Warm tube-like tones with a natural dynamic response. Finding a good bass overdrive can be tricky. Overdrive pedals tend to filter out low ends causing the bass to sound thin, and one thing bass players do not like is having a thin sound. That is exactly why we like Darkglass pedals and the Vintage Microtubes in particular. The Vintage Microtubes delivers smooth and warm tube-like overdrive which adds to your sound and not takes away from it. A great feature comes with the ERA knob, dial it to chose the decade you'd like to sound like. All the way down to be in "midrange 70's" or all the way up for "metallic 90's".

A Perfect combination of brutality and clarity... The Darkglass B3K V2 is the successor of the renowned B3K CMOS which shocked the bass world. Darkglass added a Tone knob and Mid Boost switch to allow more control over the overall sound and help the player to cut through the mix. The move from toggle switches to on/off buttons is smart, as it makes the pedal more user friendly, and along with the four simple turning knobs the B3K is really easy to handle. Sound wise, as the original version, the B3K V2 is a massive overdrive pedal.

Two distinctive distortion channels combined in one pedal. Following the success of their Alpha Omega preamp/overdrive, Darkglass electronic released the Alpha Omega – a standard size pedal effect which delivers the two Alpha Omega mods with a simplified eq at a lower retail price. The two distortion mods, controlled by the MOD knob, are both the un-subtle, brutal in your face kind, though definitely not harsh! The bass is not being cut and is very healthy and apparent. The Alpha mod is tighter and punchier while the omega is more saturated and all over the place. Thanks to the Blend knob you can tame the distortion to fit your music style, or, if you need even more aggressiveness use the Growl and Bite switches for more mids and bass boost. 

The raging fuzz by DBA. If a wall of fuzz is what you are after - meet the Death By Audio Fuzz War. No, it is not a low-end-no-treble fuzz and no, it is not an only in your face one either. This pedal breathes and reacts to your playing and articulation in a wonderful way really. The Fuzz War is one of the more open fuzz pedals we have heard, set the tone high if you want to get a real snarly tone, we found the tone to be mostly neutral when set to 11 O'Clock. The Bass demos were done per a user request and we are happy we did them, the Death By Audio Fuzz War works great on bass.

The raging fuzz by DBA. If a wall of fuzz is what you are after - meet the Death By Audio Fuzz War. No, it is not a low-end-no-treble fuzz and no, it is not an only in your face one either. This pedal breathes and reacts to your playing and articulation in a wonderful way really. The Fuzz War is one of the more open fuzz pedals we have heard, set the tone high if you want to get a real snarly tone, we found the tone to be mostly neutral when set to 11 O'Clock. The Bass demos were done per a user request and we are happy we did them, the Death By Audio Fuzz War works great on bass.

Simple, yet versatile! In Short – The 902 is as rich as an overdriven tube amplifier when it comes to sound. It is an nonlinear, simple overdrive which we found to be pretty versatile yet simple. It is based on multiple discrete transistor gain stages placed in series, with each stage using a different type of gain circuit, resulting in a complex, nonlinear amplification response. Simple gain pedals can be tricky. It is all about what's under the hood. With the 902 Diamond pedals, as always, took the job seriously and created a simple UX pedal that actually delivers a wide range of sound options. The combination of multiple discrete transistors on the gain side with their amp-like tone stack lets you drive the 902 from light dirt to a smooth saturation. The 902 can be used with a 9V battery or an adapter, has a true bypass switch and built to last.

A real Tremolo with a 100% analog Optoisolator. The Diamond Pedals TRM1 Tremolo has a 100% analog signal path using an optoisolator that was used in tube amps during the '60s. This pedal is equipped with a microprocessor which offers a lot of useful features such as the tap tempo, a footswitchable double speed mode and different waveforms types (sharkfin, sine wave, square, wave and "chop"). Additionally the TRM1 Tremolo pedal offers different timing accents (3/4, 6/8, 2/4 and 4/4), a rhythmic trem mode and a chaotic mode that gives a random speed with any waveform. To sum it up, the Diamond TRM1 Tremolo pedal is one of its kind, offering a vast selection of features and sound variations for you to express yourself with!To see how this translates to sound be sure to test it on the TonePedia player.

Best of both worlds. The 1st version of the Memory Lane is definitely one of the most famous Diamond Pedals effects out there. That old Memory Lane was the first ever all analog delay pedal to offer tap tempo. It sounded immaculate, but like all analog delays, it did not offer long delay times (the maximum it delivered was 550 ms). That is what Diamond Pedals set to improve with the Memory Lane Jr delay. The MLNJr combines a digital sampling engine, with an all analog signal path before and after it. The result is a delay pedal with similar sound to the original one, but with and extended frequency range and over twice the delay time. The Diamond Pedals MLNJr Memory Lane Jr is by all means a fantastic delay pedal you ought to check out. 

A two-knob legend. Back then in the '70s when it came out, the DOD Overdrive Preamp 250 was not an immediate hit. But during the years it became more and more sought after thanks to its wide range of gain capabilities. The sound of this pedal is extremely organic and across the gain sweep you will definitely find several sweet spots. The magic of the DOD Overdrive Preamp 250 is the mix of flat midrange and slightly rolled of lows which let the tone really open up the more gain you add. The legend of the DOD 250 led to several boutique makers creating their own versions of it. Some years ago this legendary pedal was reissued by Digitech. The reissue contains the 741 op amp and sounds pretty close to the real thing. So if you cannot find a '70s one, make sure to check the reissue.

Dooming The DOD Carcosa fuzz holds within it the type of fuzz which perfects a specific tone for a specific genre. Think slow powerful Black Sabbath tones and you'll be straight into the correct realm of sonic dread in all its wonder!.Speed things up and you can indeed get punk tones, hit the toggle into Demme mode for more low-mids with increased gain and you'll unlock some great lead tones which seem to work better into a cleaner amp. Hali mode is great at pushing an already hot amp into submission.The Hi-Cut is an interesting way to approach the tone as is the before/after gain controls which can create the fuzz more in the pedal or more in the amp (or both if you're mentally set that way ... see a doctor, they'll tell you you're just perfect!) We love this pedal so much and recommend pairing it with a sub octaver for extra joy. 

Vibalious The DryBell Vibe Machine took the world by storm when released. Most vibe pedals before this were relatively large and/or lacking something, though hard to describe what exactly.DryBell state that " When you switch the Vibe Machine V-2 on, your guitar melts into a swirling three dimensional space inhabited by chewy vibe harmonics and textures. It’s all here from shimmering liquid trebles to throbbing pulse-like waves of bass; a sonic force of beauty that tears down the walls around you!" and lets be fair, you can hear that clearly in our demos.

So much style you need sunglasses to look at it. The Starplayer TV is a semi hollow, dual pickup, 22 fret electric guitar, featuring arched top and back, bent sides and a 647mm scale. For the Mike Campbell Edition we have added some unique details, which are only featured on this model. For the cutting leads and heavy riffs, Duesenberg took their own classicly wound Grand Vintage Humbucker and paired it with their open Domino P90 Singlecoil for airy chords and creamy licks.

The Exceptional quality of Duke guitars really stands out in today's guitar market. The A-PF is a small body, 12-fret acoustic guitar which sounds much, much more than it costs.It has a solid spruce top with laminated rosewood body, bone nut, bone saddle and ebony fretboard. The A-PF guitar does not only sound great, it also looks great thanks to the high-gloss finish and slotted headstock.The tone of the Duke A-PF can be described as a lively one with emphasis on the mid and high range. It has great attack which suits hybrid picking and finger style. Also, it's sustain is worth to mention, as it delivers a good amount of it.The Playability on it is great, the neck feels smooth and there's enough room for the fingers to move thanks to it's 45mm nut.

Jimi Hendrix live tone at your feet. The Dunlop Electronics FFM6 Band of Gypsys Fuzz Face Mini Distortion is the result of a long quest after the sound of Jimi Hendrix's live shows during 1969-1970. The Live at Woodstock, Live at Berkeley, and Live at the Fillmore East fuzz tone came from a mysterious red body & white knobs fuzz face which unfortunately cannot be found today. Gladly the engineers at Dunlop via trial and error found the circuit this pedal was using, and with it the FFM6 was built. Do not let that mini size trick you, the Band Of Gypsys is a hell of a Fuzz. It differs from a traditional Fuzz Face and in fact it is based on a Tycobrahe Octavia circuit. We like this pedal a lot.

As old school as fuzz gets! Before silicon transistors took over, fuzz pedals were using germanium transistors. The Dunlop Electronics Germanium Fuzz Face Mini (FFM2), as the name suggests, uses these old school germanium transistors that shaped the sound of rock. Germanium transistors are known to sound warmer than silicon ones, and clean better. The FFM2 transitions between clean-dirty-heavily fuzzed tone easily and smoothly, it sounds great and teams perfect with single coil guitars. All in all a very cool old school fuzz in a pedalboard friendly housing.

The mini version of an epic pedal! Dunlop Electronics created this pedal board friendly version of their iconic Fuzz Face from the 1970's so you all could enjoy epic fuzz tones and save space at the same time. The distinctive, warm vintage character of the Fuzz Face enriches any effects collection and throws you back into vintage territory. The Dunlop Silicon Fuzz Face Mini Distortion FFM1 uses BC108 silicon transistors which give the pedal an aggressive sound with a lot of brightness. We enjoyed rocking with the Silicon Fuzz Face Mini Distortion, it's great how vintage it sounds, yet so easy to use thanks to modern specs like the bright Status LED, the AC power jack and the accessible battery compartment. Be sure to compare the silicon version to the germanium one found on TonePedia.

Vintage, tweed-type tone. The Earthquaker Devices Bellows is a transistor based overdrive to fuzz pedal that gets by with only two knobs - delivering a lot of character!One great thing about the Bellows is, that it works great with both electric bass and electric guitars. Whatever you plug into it, it will drive - actually, it will fuzz, too. On low drive settings the Bellows is a mild fellow, the easy to handle type. However, turning the drive knob to full will result in a full range fuzz straight out of fuzz land.To sum it up, the Earthquaker Devices Bellows is an extremely useful gain pedal that can drive an entire show, from the subtle first song to the shredding finale.

Hoof - Best of both worlds. Well, regarding Fuzz - the first decision one has to make is if you prefer Germanium or Silicon Transistors being used. A rather vintage inspired, smoother tone is produces by Germanium Transistors while the Silicon fuzz pedals are known to offer greater transparency and simply sound harsher, brighter and fuzzier. The EarthQuaker Devices Hoof, being a hybrid, pairs the good qualities of both Transistors delivering a smooth, natural and harmonically rich sustain. The Level, Fuzz and Tone controls operate in the usual way while the Shift knob lets you adjust the mid content- from classic scooped mids to more modern cutting mid-range frequencies.The EarthQuaker Hoof is hand build, all-analog, true bypass that can be powered by either battery or a regulated power supply.

A scary vintage voiced reverb. The Ghost Echo V3 Reverb is a spring reverb emulation machine that generates anything from a slapback delay to spooky ambient sounds. With the Attack knob to go from 30 - 150 ms pre-delay, the Dwell control setting length and thickness of the decay and finally the wet/dry mix named Depth, it is a delight to adjust. Subtle settings sound very organic and are extremely responsive to the playing style. The real fun starts though when dialing the knobs clockwise up to the point of self-oscillation. Just before the infinite-loop you'll get a dark reverb with a very peculiar haunting sound.The Ghost Echo's updated V3 features a stronger reverb echo, new artwork, upgraded op-amps for lower noise and silent relay based switching. 

The right one. That is what Jeff Berlin felt when he first tried the EBS UniChorus Studio Edition pedal effect. This new edition of the original UniChorus sports a superb analog signal path which gives smooth and warm tone, switch from bypass to engaged and hear it for yourself. Use the Mode switch to select between Flanger, Chorus or Pitch Modulation modes. If you feel you need less or more of the wet signal, use the Mix internal control. Since 1977 the UniChorus is on boards of bass players, this Studio Edition version keeps the high quality expected from EBS and that unmistakable chorus sound we all like.

8 Different reverb types in a simple layout. At first look you might miss it, but the EBS Dynaverb Studio Edition offers no less than 8 reverb types. The three main types are Room, Plate and Hall. The two first ones have three different sub types will the Hall has two. The crazy thing is, that this pedal is housed in a standard casing so you can have it on your board without worrying about space. The EBS Dynaverb is a great reverb in our opinion, we like how well it sounds, how simple it is to operate and the fact you can run it parallel for studio use.

This Is not an EQWhat is it about Envelope Filters that gets our toes tapping and our heads nodding. Sure the playing is often funky but the filters just add that fun factor making even the saddest lyrics light hearted.This is the updated version of the classic Bass IQ, adding to the original threshold, attack and mode switch we now also have filter type and a Q control.The filter switch allows us to choose between Full Range, Band Pass and Low Pass filter types and the Q control allows players to make the effect more or less prominent.This pedal is now capable of everything from auto wah through to sweeping synth tones and everything in between. 

The Effesk Krankjorum is an in-your-face noise generator which will leave your crowd with open mouths and sore faces. Explaining the Krankjorum by the Dutch boutique maker, Effesk Pedals, is not an easy task. In fact, this pedal is so unique we had to record special demos just for it. Essentially in tech language the Krankjorum can be described as an analog fuzz with pitch-shiftable delay. In guitar sound world it means you have a ripping fuzz combined with pithed tones. The tone and the repeats depend on how you set the a delay time and pitch knob.A great feature of the Krankjorum is that it basically has a life of its own. The pitch does not only depend on the pitch knob setting but on the delay time too. The result of this is a crazy unexpected pitch-shifted fuzz. We love it.

It's all art! sound-wise and look-wise. The Effesk Sonic Salvation is a straight forward Fuzz pedal effect. It is such a great sounding (and looking) pedal you'll get it right away. But, despite what most people think of 2 knob pedals, it is really a versatile fuzz pedal which responses very well to the dynamics of the player. Effesk designed the Sonic Salvation based on the legendary Jordan Boss tone fuzz from the 60's.As mentioned earlier, the Sonic Salvation by Effesk not only sounds good, it also looks good thanks to the artwork handmade by rock-and-roll artist Nick Twaalfhoven.Damn, what a fuzz!

The Famous Green Russian This pedal has been one of the most talked about fuzzes of recent years due to its unique aggressive tones.The back story to the pedal is very much the Phoenix from the flames proverb, EHX had gone, the soviet union too had gone but people needed to carry on. Mike Mathews saw renewed love for his original big muffs and saw that Russian manufacturing was cheap and born from this was the Russian Big Muff. So rare and so popular now, they have become the new pedal which every company creates their own version of. Compare it with the many other Big Muffs and variants of to see if you think it deserve the hype!? 

The Smashing Pumpkins fuzz. The Electro-Harmonix Big Muff has had many versions during its lifetime. The unit we have here is the V4 one which is associated with Billy Corgan of the Smashing Pumpkins. The unit uses the EH-1322 board and is all stock. As to sound, try it out for yourself using the TonePedia player, compare it to other models too. The EHX Big Muff Pi V4 was in production for approx two years, so it is relatively hard to find.

Stone The Crows V.1Phaser is to the 70's what Chorus is to the 80's, such a great movement within your tone with the additional benefit of adding groove to the overall song. Back in the 70's the phaser to rule them all was the MXR Phase 90 due to use by EVH, however the popularity of that pedal encouraged companies such as BOSS & Electro-Harmonix to create their own versions. Using the single knob model the Phase 90 & 45 laid the ground for, EHX added an interesting "color" switch allowing players to switch between a much more subtle and a more obvious tonal change effectively giving the equivalent of two pedals in one.This is the V1 model, it encroaches more upon the clean tone than later models but has a more usable "color" mode. The speed controls spread ramps up somewhat slower giving greater control over lower speeds which is arguably where Phaser tones sound best. 

The inexpensive rocker by Epiphone. After the G-400 and G-310 models, now comes the Epiphone SG Special guitar with an incredible price/value ratio. Many people do not know this, but the SG model actually replaced the Les Paul model sometime during 1961. Yup, there were no single cut shaped les pauls offered new back then for several years...Anyway, players like Angus young, Toni Iommi and more have made the Gibson SG their main axe, and now Epiphone brings you another version of that iconic guitar which will not break the bank.With mahogany body, rosewood fretboard, 24.75 scale, 700T Humbuckers and these iconic double horned design the Epiphone SG Special guitar is a one punchy guitar with a lot of crisp and tightness.It is also a light weighted guitar, which means it is a lot of fun to jam with while standing. You can jump and go crasy all around with this thing!If you are a beginner or intermediate guitar player aiming to become a rock star, you will appreciate the Epiphone SG Special guitar.

Slash'd The appetite Les Paul is famous for "that tone" and now you can get it at an amazing price!With almost all the amazing detail from the Gibson version with just a few differences such as a picture veneered maple top this guitar is a must for GnR fans on a budget!

An active hottie. LTD by ESP make great guitars. The ESP LTD Phoenix-1004 4-string electric bass is a great example for what LTD is capable of, it has a neck thru-body design and offers a 34“ scale, mahogany body, maple neck and ebony fingerboard. It has 21 frets, a Gotoh bridge and Gotoh tuners. The Phoenix-1004 has two hum bucking EMG 35DC pickups, for bridge and neck. The 35DC pickup looks quite modern, but it was designed over 30 years ago. The gained experiences gave this pickup an extended range of clean sound on high and low frequencies. Unfortunately this model is no longer in production, however you can still find it in the second hand market every now and then.

Brute By Name But By Nature? When a new drive hits the market the automatic response is "what's it based on?" as so often the "new" pedal is XXXX's latest take on a famous mid boosting light overdrive for example. The Brute drive hit the market in the early 2010's and promised an entirely new drive designed from the ground up. E.W.S, a pedal building company based in Japan wanted to re-create classic distortion sounds in a pedal but they managed so much more.This pedal will give you all the "brute" aggression you relate with classic tones but it also hides some beautifully unexpected lower gain bluesy tones. These bluesy tones were so good in fact that blues god Eric Gales adopted the pedal and now even has his own signature version! Its not for us to tell you how the pedal sounds, the demo is there for you to decide how good it is for yourself, lets just say that we are adding this pedal because we use it ourselves and want you to experience it too. Have fun.

First year Thinline! Combining two great things - the Telecaster and the Semi-Hollow body style - The Fender Telecaster Thinline is an awesome guitar. This one is a first year, all original piece. Heavily played by its original owner, yet retaining the original frets even. Such a lightweight guitar you can play it for hours. This one has 1 Meg potentiometers, maple cap and ash body & top. Enjoy!

Pugilist DistortionIn 2020 fender released the Pugilist in a range of great pedals that improved massively over previous years' offerings. These pedals had more than just great tone, they oozed with great features too. Distortion StackingThe thing which sets the pugilist aside from over distortions is that it's actually 2 in one box.Despite there being many controls, they're very simple:2 x Tone2 x gainLevelBlend (switchable on/off)Bass Boost switch. You simply dial in the gain and tone amount for each distortion and choose how to mix them.Mixing it upThere are three different options of mixing the distortions not two as most people would lead you to believe. Firstly you can run them directly into each over which will push the second drive into obliteration, wonderful. Secondly you can set each side differently and us the blend control to find your perfect mixture of parallel goodness. Thirdly by turning the blend control entirely to one side or the other you will have just one distortion engaged.Top TipTo turn the pugilist into a two channel beast try the following. Set channel A with low gain and the tone slightly more trebly. Set Channel B to be a great sounding medium/high distortion on its own. Turn the blend control totally to the right and use the "series/blend" switch to toggle "channels". The result will be a great sounding distortion with the ability to boost it by kicking the switch up.The Pugilist's other featuresThe bass boost switch is great for adding body when practicing at home and getting out of the bassists way in a band environment. Each of the knobs has its own led for clarity on stage but you can also turn these off to avoid blinding yourself. Battery compartments can often be a pain to get to so Fender added an easy to access port on the bottom panel. This simply flips down without having to remove the pugilist from your pedalboard. 

Squier's Classic Vibe Precision Bass lineup presents a powerful ’70s-style model that evokes the instrument’s look and style from that musically adventurous era. The smartly alluring all-black look extends to the pickguard, the finger rest and, in a stylish touch, the block inlays on the maple fingerboard. The Fender-designed split-coil pickup delivers classic Precision muscle, and the HiMass bridge with brass "barrel" saddles keeps intonation rock solid.

The all mahogany budget 12 string by Framus. Strumming on a 12 string guitar is fun but may be challenging as there are simply more strings to press. The standard size 1.87" / 48mm nut width of the Framus FD 14 M NS CE 12 makes things a little easier as you do not need to cope with a too wide nut and the relatively slim neck shape helps too. The FD 14 M NS CE 12 is deep and kind of dry sounding thanks to its all Mahogany body. The Natural Transparent Satin is elegant and well made and the on board Fishman Isys + preamp and Sonicore piezo combination is a great addition which makes the Framus FD 14 M 12-String Dreadnought, with Cutaway & EQ a great 12 string choice for your collection.

An all Mahogany warrior. If you like Mahogany guitars you ought to try out the cutaway & EQ version of the Framus Legacy Series FG 14 M Grand Auditorium guitar. Solid Mahogany top combined with Mahogany body produces warm mid-rangy sound which compliments the body size of the guitar, which is surprisingly loud. Another reason to check the FG 14 M is the 1.87" / 48mm nut width. Being larger than the usual nut on an acoustic guitar, it fits better for players with larger hands. The Fishman Sonicore pickup combined with their Isys + preamp is easy to use and delivers good acoustic/electric sound and the cutaway eases the playability above the 12th fret. The FG 14 M in both colour options is a traditional guitar from a traditional acoustic manufacturer.

The big Mahogany lady of the Legacy series by Framus. If big bodied, deep sounding guitar at a budget is what you are after then you must check the Framus Legacy series FD 14 M NS CE Jumbo. It is an all Mahogany guitar with much charm and character. It sounds like it looks, deep and warm with focus on the low and mid frequencies, great for pick strumming and drop D. The FD 14 M NS CE here is stage ready with the Fishman Sonicore pickup combined with the Isys + Preamp, it has a cutaway too. If you do not need electronics and cutaway and would like to keep it simple, check the FD 14 M by Framus as it is the same model without these features.

Or D-CY Trying In IndigoThe Indigo D-CY's appearance is beautiful with a western red cedar top and layered mahogany in an open pore finish on the back & sides. Look closer though to see how it's subtly bound black binding, a double ring rosette with black walnut inlays finishes the effect nicely.Further features include carefully selected solid woods including an ebony fingerboard, proprietary design features and production technologies such as a special soundboard voicing process individually suited to the instrument and the revolutionary Furch CNR System® neck joint (with a dual action truss rod).Everything about this guitar suggests it's a serious instrument and the tones agree, go hear them for yourself and let us know what you think. 

Classic Style, Vintage Finish, Modern Performance Vintage 1 D-SR This range of guitars should be in a museum, It simply gives us the chance to see how vintage guitars felt on day 1. The D-SR appearance is beautiful with an Sitka Spruce hand brushed finish. Bound with artificial Ivory binding, and a double ring rosette featuring herringbone inlays and a artificial tortoise pickguard blending in nicely.  Further features include carefully selected solid woods including an ebony fingerboard, classic cog like machine heads, proprietary design features and production technologies such as a special soundboard voicing process individually suited to the instrument, the revolutionary Furch CNR System® neck joint (with a dual action truss rod).Everything about this guitar suggests it's a serious instrument and the tones agree, go hear them for yourself and let us know what you think. 

One level up. G-22SR is the grand auditorium version of the 22 line by Furch, the first line in the Millennium series to come with a full-pore finish. Furch's full-pore finish enhances the acoustic performance of the body, it gives more resonance to the tone. The classic combination of Sitka spruce and Indian rosewood works well, as always, but with the superb craftmenship of Furch the beloved sound of this mix gets to a whole new level.Playing the Furch G-22SR brings an immediate smile to one's face. It is an excellent finger picking guitar which can also handle strumming very well. The TUSQ saddle and bridge really bring the shine out of the guitar and enhance the sustain. You are most likely to fall in love with this guitar, immediately.

A new level of distortion! The Gamechanger Audio Plasma Pedal is a powerful, first of its kind distortion pedal. It produces its unique and revolutionary sound via a row of high-voltage plasma discharges within a xenon-filled tube. The signal gets directly converted back into an analog audio signal. Thanks to the gas-discharge the Plasma Pedal can produce a natural noise-gate that stops producing any output when not playing the instrument. All in-between noises coming from the instruments pick-ups or humming strings get immediately killed if the Blend knob is on maximum. The Plasma Pedal effect offers a remarkably wide EQ made possible by fluctuations in the electromagnetic field surrounding the gas-discharge tube. The Plasma was produced for guitarists but it also provides musicians working with synths, drum machines and other electronically controlled instruments a rich and useful distortion effect.Sound wise the Gamechanger Audio Plasma is a massive distortion with saturated overtones and harmonics like you have never heard before!Its innovative and uncommon approach plus the unique tone make the Gamechanger Audio Plasma Pedal a unicorn among the pedal effects and we recommend to test it! It's right at your fingertips!

That's right on! The Progression Plus is an outstanding instrument. Highest accuracy in the crafting process and the love for detail create a guitar that you won't put aside easily. The combination of Canadian Laurentien basswood and a rock maple neck form a guitar that is light, well balanced and feels comfortable from the first moment on. Furthermore, the Progression Plus has a delightful amount of sustain and great playability up to the highest frets. The single coil's have oversized pole piece magnets and thereby deliver a bit more clarity and substance while the Seymour Duncan Jeff Beck Junior is more mid-focused. The High Definition Revoicer gives you another clarity boost that can be either use for certain moments where you want some extra bite or you simply leave it on at all times. Another smart feature is the "Tru-Loc Trem" system that ensures that the tremolo arm stays in a self chosen comfort zone and doesn't swing around continuously. Godin strives for innovation for creating yet better and better instruments. The Progression Plus is a fine example for this.

Rock-solid rock machine! Loaded with a Seymour Duncan Alnico II and a Seymour Duncan '59 this Summit Classic HB is ready to rock your socks off. Godin equipped this guitar with their HDR system to alter the sound of the pick ups adding a little bit of highs and mids while tightening the bass frequencies - easy accessible with a little black button next to the tone knob. The Summit Classic HB is quite light, well balanced and feels very comfortable due to its shape. The mahogany body and neck is accompanied by a Richlite fretboard which is extremely dense and thereby helps to stabilize the neck as well as it is water resistant to guarantee a long life span. Give it a listen in the TonePedia player and if you like it make sure to grab one to test it for yourself!

Clear your calendar! It's a pure delight to mess around with the Summit Classic SG and it'll be hard to put it aside once you started playing. It's light-weight, the finish on body and neck feels incredibly and it sounds great. It's straight forward with its two Godin Custom Humbuckers, a classic three-way toggle switch and two separate volume and tone controls assigned to each pickup. It takes a few moments to get used to the slightly different angle of the potis on the Summit Classic SG compared to the common angle of the Les Paul style guitars but guitarists are generally smart beings and can adjust easily. Sound wise the Humbuckers produce lively and rich tones that never tend to bore or get lost in the mix. 

A different approach to octave fuzz world When we think of an octaver we generally think of that Hendrix sound and rightly so, the man gave us so many new tones. From then on many pedal builders have tried to recreate that sound and to do so they concentrate on the fuzz tone and whack an octave-up circuit on top and voila.What Scott over at Gojira FX has done is start from the bottom up ... ... the LOW LOW bottom The Octave generator is at its heart an octave pedal with four knobs each controlling an octave. The first knob allows us to dial in and out our normal direct signal and the last two knobs allow us to bring in an octave down and two octaves down respectively. This allows for some great bass emulation and can be a very useful tool for practicing tunes at home. The spice of this pedal is on the second knob, this is an octave up AND fuzz in one knob. The genius of this is each analog circuit and the dry through are unaffected by the fuzz, therefore, maintaining clarity while the octave up goes crazy on its own. The other octaves cushion this mad dangerous sounding octaver style effect allowing for tones only possible with multiple pedals before. This is a pedal with many possible uses. It could be used as a simple clean boost in one song then allow you to cover the bass on another. You can begin to emulate organ sounds or just dial in a little of each frequency to just give some extra body in a smaller band or a quiet section of a song.Or you can get your full Jimmy H on and jam away all night long. Let us know what you think of it on our Socials 

A High Gloss Surprise To Behold These fantastic student guitars are made in Europe at very fair prices.The reason they're so good at this price is simple, the manufacturer has been making instruments for many of the larger companies for a long time! Now they're making their own instruments which lets be honest, gives an extra touch of soul.The 1/65 F has a honduran cedar neck & body, rosewood fingerboard and spruce top with a high gloss finish.Use TonePedia to audition it against hundreds of other guitars, does it live up to you expectations ... or does even it exceed them?

A High Gloss Surprise To Behold These fantastic student guitars are made in Europe at very fair prices.The reason they're so good at this price is simple, the manufacturer has been making instruments for many of the larger companies for a long time! Now they're making their own instruments which lets be honest, gives an extra touch of soul.This is the Full scale version with a cedar top, rosewood body, satin finish, mahogany neck and rosewood fingerboard.Use TonePedia to audition it against hundreds of other guitars, does it live up to you expectations ... or does even it exceed them?

A High Gloss Surprise To Behold These fantastic student guitars are made in Europe at very fair prices.The reason they're so good at this price is simple, the manufacturer has been making instruments for many of the larger companies for a long time! Now they're making their own instruments which lets be honest, gives an extra touch of soul. The 1/58 Z HGL has a mahogany body, wenge neck, rosewood fingerboard and cedar top. This is the high gloss 58 scale (or 7/8) student guitar. Use TonePedia to audition it against hundreds of other guitars, does it live up to you expectations ... or does even it exceed them?

The Clue Is In The Name!? So how is the Greedtone Overdrive II different to the millions of other drives on the market, well firstly it's designed around the professionally trained ears of Greg, sound guy for some of the worlds largest bands.Secondly this pedal has mega amounts of volume on tap (4V in fact) in order to push your amp into its natural happy place. This may well be the loudest drive on the market today.The gain stage is designed to not just clip the signal giving great rock through to metal tones, it's also designed to bring out the sparkle and harmonics of your guitars natural tone. This is due, in part, to the extremely high end hi-fi audio components used. The “Greed” control is where things start becoming crazy, this beast of a control begins feeding extra bass into the gain section of the pedal. This essentially allows you to shape which frequencies receive more attention from the gain stage.The results are so extremely wide ranging as turned right down you have yourself a great rocking overdrive pedal BUT when you start diming this knob into an overdriving amp you enter a world of Sludge and Doom as yet unheard of. So you have your new drive on the board and it‘s time to kick in the lead tone … WAIT, try la MORE switch.An entire second stage of distortion is at your disposal, that’s right, the Greedtone OD is a double drive pedal.

For eyes and ears... The Gretsch G5420TG/LTD represents 135 years of the classic Gretsch sound in one guitar. It has a Hollow Body Single Cut, a Bigsby B60 Tremolo and two Blacktop Filter'Tron pickups which sound smoking hot. For this special model Gretsch chose Maple wood for the body, which communicates perfectly with the pristine sound of the Filter'Trons. What we like the most about this guitar is the punch! Not only it is great to look at, once plugged, it delivers that punch Gretsch guitars are so famous for.

Classic overdrive sound at a great price! The Harley Benton Vintage Overdrive JF-01 pedal introduces warm overtones when used as a clean volume boost and when cranked to 11 this pedal has the searing tone and warmth of a classic overdriven tube amp.The pedal features three control functions: volume (output), drive (gain) and tone (treble boost or cut, focused around the 2-5k range). The circuit features true-bypass wiring and the world-renowned jrc4588 chip. The result, as can be heard, is classic!

Homeward BoundOur friend Joe of Hello Sailor Effects is a fully fledge sailor in Her Majesty's Royal Navy, so when it came time to create the effect famous for making some people feel seasick he knew it had to be nautically themed.With months at a time spent at sea, the Homeward Choruses name relates to that feeling of heading back home to family and friends so what better pedal to base the topology on than the CE-2 as everyone loves it like an old friend.Featuring a switch to flip between higher and lower intensities, Hello sailor has created a chorus that is always familiar but often in new ways.

The limited edition reverb pedal from Höfner. Höfner is known for their basses and guitars. The Beatle Bass is as iconic as it gets and their electric guitars are pretty famous too. But pedals? Yes! Handmade limited edition pedals that commemorate the old days, yet built in up to date standards. First thing to catch the eye is the design of these pedals, you know they're made by Höfner with much dedication. Each pedal is finished with a custom art sketch, a 60s Höfner logo and sports Höfner tea-cup knobs. The Sound of the 60s pays its respect to that shimmer, fast decaying reverb which was so famous in those years. Höfner listened to dozens of recordings from the era while designing this pedal, to make sure the magic is captured. The heart of the pedal is an Accutronics & Belton reverb brick and with the 4 knobs on the face of the pedal you can control the overall volume, dry/wet mix, reverb length and tone.

The Höfner Verythin Deluxe (HCT-VTH-D) is a smaller bodied sister of the Verythin Contemporary. It is a semi hollow electric guitar which delivers that surf Höfner Verythin style, only with a reduced body size which makes it "snuggly". We like the dry tone coming our of it, and from the entire Verythin line in general, but the HCT-VTH-D stood out when it came to overdrives and effects in general. The overall tone was more solid and we found it to be a versatile guitar.

Archtop bass at an affordable price. Inspired by the original Hofner Verithin bass from the 1960s the new Hofner Contemporary version of the Verythin Bass offers you an archtop bass with vintage look and sound at an affordable price. The short scale of 30" makes this electric bass guitar easy to play and handle while the centre block gives modern deep bass sounds and helps to eliminate feedback. Fitted with original Hofner 'Staple-Top' pick-ups, tone and volume controls.

A classic Overdrive gets refined for the 21st century. The Nutube Tubescreamer is basically a standard TS808 with inverted colors and the addition of the tiny, vacuum Nutube. It sounds organic and amp-like, offering exceptional dynamics. Like you'd expect it from a Tubescreamer, it tightens up the bottom end with a pleasant amount of compression. Besides the initial set of controls they've added a Mix knob to go from clean (CL) to overdrive (OD).  This is a well though-out addition to the pedal since most players use the Tubescreamer either as a Clean or as a Solo boost. This Mix knob enables you to further shape the character of the pedal to your specific use.The NTS has relay true-bypass switching, is all-analog and can be powered with 9 volt battery or 9-18 volts power supply where 18 volts deliver more headroom and gain.Follow your instincts and listen for yourself in the TonePedia Player!

6 String Aerial View of Paradise There’s some speculation over what RG stands for on Ibanez’s guitars, on the RG1121PB we’d suggest “Really Good” because … well, it is. As part of their premium range Ibanez have gone the extra mile to provide amazing looking, playing and sounding instruments while still at a fairly decent price point. Lets face it, we’ve all seen guitars with a lot less spec going for a lot lot more. So let's look at the spec. First up we have to discuss the appearance which is striking without being garish, a poplar burl top in ocean blue with a sandy white centre instantly reminds us of a paradise island. Why isn’t this a standard in all guitar ranges, it simply makes people smile. The contrasting Ebony fretboard leads up to the blue colour matched headstock. Flipping the guitar over we find an 11 (yes ELEVEN) piece neck! Comprising a mixture of Maple, walnut and purpleheart woods, simply stunning! Featuring two passive DiMarzio pickups, a wizard profile neck, gold plated hardware including the jumbo frets, the choice of with or without trem and even Gotoh locking tuners this guitar is made for people who want to look good and play great. Not a guitar for the conservative play but if you want to show off in style (or beach shorts and sunglasses) then this is for you! 

Are original run of Tubescreamers still the best? There are a few things in life which can divide friends and families. Politics, religion and yes ... Tube screamer chips.So if you're reading this you most likely know what the tube screamer is but to be safe, it's a low gain overdrive pedal which rolls off some low end and has a very specific mid frequency bump. Using our demo turn the gain down low, set the tone at noon and switch the pedal on and off to hear this fairly change fairly clearly.Throughout the years the Tubescreamer has gone through many many changes, six main models 808, TS-9, TS-10, TS-7 and the TS-5 and most of these had model variations such as the TS-9DX Turbo TubeScreamer for example. From these the TS-808, TS-9 and more recently the TS-10 have become the mainstays on many guitars boards however the internal designs of the TS-808 and in TS-9 are what causes discussion. It simply comes down to the components used, the OPamp chip sets used in pedals aren't made FOR pedals in fact they're used in many products throughout the world. eventually new chip sets come along which does the job better for the majority of products so they are discontinued or made in such small quantities that they become prohibitively expensive. Companies change the chips for something close and people often prefer the original sound of the original chip set. This means the early Tubescreamers with certain chips are coveted, rare and can be fairly expensive. Fear not though Tonepedia user as we have gone ahead and sourced some of the rarest pedals on earth including many Tubescreamers with different Chip sets for you to try such as the quintessential JRC4558D and JRC2043DD chips found in the crossover from 808's to TS-9 in the early 1980's. The JRC4558D is THE holy grail for most TS-9 fans who claim it has a slightly more pronounced mid range and causes the clipping have just the right amount of edge.The JRC2043DD is claimed to give a little slight lower mid to bass push and a very slight notch in the low treble regions.We also have a Malaysian chip 4558P TS-808 for you to compare with other tubescreamers including modern 808's. This chip is claimed to have a softer touch and causes an overall lower sounding pedal.For the sake of balance, there are many who claim components other than the opamp chips cause some of these artifacts and now YOU TOO can become an"expert" on the tones of tubescreamers by comparing them all here. So enjoy and let us know what your think. 

The Lion, The Witch & The Silver Centaur There are a LOT of pedals in the world and so many of them are clones of other pedals.Most of these fail to improve upon the originals in any way other than a tonal variation which is likely more luck than judgment. One pedal which has seen its fair share of clones even had its own nickname for the copies ... of course we're talking about the Klon Centaur and subsequent "Klones".However if there's one pedal in the world which needs "kloning" its the Klon, because these things cost a fortune. J. Rockett have created a pedal which has 99% of the magic the original Klon contained yet in a smaller, great looking pedal. Why 99%??? well have a look at their other pedal ... the Archer Ikon to find out!?

The Lion, The Witch & The Golden Centaur There are a LOT of pedals in the world and so many of them are clones of other pedals.Most of these fail to improve upon the originals in any way other than a tonal variation which is likely more luck than judgment. One pedal which has seen its fair share of clones even had its own nickname for the copies ... of course we're talking about the Klon Centaur and subsequent "Klones".However if there's one pedal in the world which needs "kloning" its the Klon, because these things cost a fortune. J. Rockett have created a pedal which has 100% of the magic the original Klon contained yet in a smaller, great looking pedal. This is due to two components found in original Klons which were void of markings ... J Rockett researched the parts extensively and were the first to uncover the mystery. Therefore what you're playing with here is the first ever exact 1-2-1 recreation of the infamous Klon Centaur. 

DOOD J. Rockett made their name by becoming the first to accurately clone a Klon with the correct components. After dealing with such an unobtainable piece of gear nirvana they then took it upon themselves to approach another, the infamous Dumble Overdrive Special. As of the time of writing there is one of these mythical amps on Reverb priced at £90,000. We're sure you're thinking ... "great, I'll take 2" but alas only a small number of Dumbles were ever made which maybe makes them sound better!?The Dude is sensitive to touch and produces a rich, harmonic tones. Capable of lovely clean boosts and gritty dirty gain tones we think this pedal does a great job, however how would we know ... we've never played a Dumble. Taken on face value though this is a fantastic sounding overdrive pedal suited perfectly for styles similar to the blues for example. 

That Tremolo Show Ah good ol' TPS (That Pedal Show), if you're not familiar with their YouTube channel ... well you should be. Between the two presenters Dan & Mick they have are huge wealth of knowledge around all things music gear and quite specifically pedals. This isn't the first signature pedal they've produced in connection with a great pedal manufacturer but the Harmonious Monk definitely has the best name. Designed in conjunction with one of our favourite pedal companies JAM , this pedal encapsulates their shared love of tremolo and in particular Harmonic Tremolo! Firstly the pedal has some interesting controls designed around the basis of live performance, the mix control and in conjunction with the overall volume allows for precise control of effect and level, the double speed footswitch is perfect for on the fly changes which can easily become a hook for a song.

Why Aren't All Vibe's Purple? Happy accidents, Penicillin, Stainless Steel, Viagra and Vibe are all there in the best human kind has stumbled upon. The circuit which we now recognise as Vibe was originally designed to replicate a leslie rotary speaker and that's fairly obvious when you think about the tones however it offers soooo much more. As with all things classic pedal circuits we tend to migrate towards the originals which players normally agree sound the best. With this mindset JAM Pedals created the Rotovibe Mk.2 and people all over the world agree this is one of the best recreations of the greatest vibe circuits from history such as the Shin-Ei Uni-vib.The switch will push the circuit more towards vibrato or chorus tones but the vibe is always still the dominant sound. This often confuses players new to vibe as it sounds closer to a phaser, here you can use tonepedia to here the difference between the four different effect types! 

The Trouble With Tremolo Ahh sweet sweet tremolo, so good the very first individual effect was a tremolo way back in the 1940's (yes that's right not long until 100 years of stomp boxes). Arguably the very best tremolo tones are those found in amps and specifically older Fender amps and that's why our friend from sunny Greece, Jam Pedals have designed the Chill Tremolo to sound like these early Fender tremolos.The trouble with tremolo is perceived volume loss, this is due to half of what we're hearing being removed. The highest volumes are the same but it sure doesn't feel like it! What the very best Tremolo's do to combat this it add more volume to the output which behaves like a boost and allowing the tremolo effect to come in at unity gain. Jam pedals of course added this feature but they've taken it one step further.By reducing the tremolo effect (depth at 0) and pushing the volume you get a very pleasant sounding boost from your analog trem pedal!   All in all this pedal gives the user everything needed from a trem plus a boost feature and it looks amazing just like the entire Jam range.

An Italian gated Muff. You wouldn't know by looking at it but the JEN Jumbo Fuzz is a take on the original Electro-Harmonix Big Muff V1 (aka Triangle muff).For many people EHX got it right first time with the triangle muff, it just sounds so aggressive, so focused, so ... un fuzz like. Indeed the triangle muff (V1) is more akin to a modern distortion pedal than the iterations of muff which proceeded it. The sliders certainly gave the Jen a unique look which definitely looks professional. Compare it against an original V1 Big Muff here on TonePedia and let us know which you think is the best!? 

Bend It, Shape It, Anyway You Want It  The JHS legends of fuzz range were designed to bring the unobtainium of pedals to everyone, classic rare fuzz circuits.Most of us won't ever have the chance to try the original pedals such as the supa fuzz's and tone benders of the world let alone own them.The JHS Bender is a recreation of Josh Scott's own 1973 MK3 Silver/Orange “Onomatopoeia” Tonebender.These often sell for in excess of $1000 so the JHS option is a great way of getting those tones without remortgaging.As with most JHS takes on other pedals this has some extra features, the mode switch pushes the mids which is great for lead tones, and changes the picking dynamics so digging in gives a gated effect. The other advantage here of course is the build quality and overall reliability, let's face it the original is approaching 50 years old.The question you will have is how close is the Bender to the original ... Well, you came to the right place!It's not for us to tell you, we have a 1974 sola sound Tonebender on TonePedia so A/B them here yourself and tell us what you think!

A different approach to octave fuzz world When we think of an octaver we generally think of that hendrix sound and rightly so, the man gave us so many new tones. From then on many pedal builders have tried to recreate that sound and to do so they concentrate on the Fuzz tone and whack an octave up circuit on top and voila.What Scott over at Gojira FX has done is start from the bottom up ... ... the LOW LOW bottom The Octave generator is at its heart an octave pedal with four knobs each controlling an octave. The first knob allows us to dial in and out our normal direct signal and the last two knobs allow us to bring in an octave down and two octaves down respectively. This allows for some great bass emulation and can be a very useful tool for practicing tunes at home. The spice of this pedal is on the second knob, this is an octave up AND fuzz in one knob. The genius of this is each analog circuit and the dry through are unaffected by the fuzz therefore maintaining clarity while the octave up goes crazy on its own. The other octaves cushion this mad dangerous sounding octaver style effect allowing for tones only possible with multiple pedals before. This is a pedal with many possible uses. It could be used as a simple clean boost in one song then allow you to cover the bass on another. You can begin to emulate organ sounds or just dial in a little of each frequency to just give some extra body in a smaller band or a quiet section of a song.Or you can get you full Jimmy H on and jam away all night long. Let us know what you think of it on our Socials 

Is It A Delay, Is It An OD, No Its A SupaFuzz  The JHS legends of fuzz range was designed to bring the unobtainium of pedals to everyone, classic rare fuzz circuits. Most of us won't every have the chance to try the original pedals such as the supa fuzz's and tone benders of the world let alone own them. The JHS Supreme is a recreation of Josh Scotts own 1972 Univox Supa Fuzz (Black & Grey).These often sell for in excess of $1000 so the JHS option is a great way of getting those tones without remortgaging if you can even find one.As with most JHS takes on others pedal this has some extra features, the “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates a much more pronounced octave up effect, thicker mid-range, and more available volume/boost. The other advantage here of course is the build quality and overall reliability, lets face it the original is approaching 50 years old.The question you will have is how close is the Bender to the originals ... Well you came to the right place!It's not for us to tell you, we have multiple classic fuzzes on Tonepedia so A/B them here yourself and tell us what you think!

Joyo OLD SCHOOL distortion - the name says it all.  Drawing its classic rock tone from a 2n3904 transistor, this tiny instant classic has a wide range of gain settings. With 30dB of low mid boost it can make even the smallest amp sound like a full stack. One of the great characteristics of this pedal is the fact that it paints every nuance of your guitar beautifully. Single coils sound like single coils at every gain setting. The Old School enhances your setup without masking it. We think that this is what a great pedal is supposed to do.

Hot, JCM800 like sound. We all love the Marshall JCM800 amplifier, it is an iconic amplifier which sounds organic, looks good and is identified with the Rock music of the '80s and '90s. Therefore, it is clear why manufacturers around the world build pedals that emulates the JCM800's "brown" sound, the Joyo Hot Plexi JF-32 is one of them. Priced at ±40$ the Joyo Hot Plexi JF-32 pedal is a steal deal! It compresses nicely and delivers a thick distortion texture.

A vintage to modern sounding fuzz for today's mini board. The Joyo JF-320 Purple Storm Fuzz which belongs to Joyo's Ironman series is sweet, mini and versatile fuzz pedal. The bias control will get you anywhere from vintage "thin" fuzz to modern fatter tone while the fuzz control will let you decide how dirty you want your sound to be. Tweaking these two controls can get your fuzz tone to fit chords or a full blown solo and that is just great. The Joyo Purple Storm uses triode transistors, a true bypass switch and a mini housing which fits on every board. It is priced well too. More control over the EQ would have been a good thing, but all in all it's a nice little fuzz. 

4 Knob Compressor? ... Oooooh Matron In case you didn't know, Robert Keeley is regarded as the Godfather of the boutique pedal world. Its definitively true to say Keeley are no longer a boutique company BUT for many many MANY guitarists Robert was their very first introduction into the world of "Oh yeah that's a great pedal, send it to me and I'll make it even better". The term "Keeley moded" is now a common phrase across the globe, and has encouraged a huge number of builders to have a go themselves which directly lead to the massive pedal boom we live in today. Of course, if your regularly improving others pedals then it makes good sense to start producing a version of them with the upgrades all ready in place and from there to start producing a range of pedals. From here the Keeley 2 & 4 knob compressors were born and were the finishing touch in solidifying Keeley's place on the Mount Olympus of the gear world. The Compressor Plus succeeded the 2 & 4 knob compressors and went on to become the single most popular compressor ever sold, in excess of 80,000 units have been made also making it Keeley's most successful pedal ever. But ... Why? Well its pretty simple really and that's the key, simplicity! Keeley made a compressor which gives you studio quality compression and made it incredibly simple to dial in to the extent that the release control is assigned to a two way switch perfectly dialled in for humbuckers or single coils. All the tricky work has been done for us leaving enough control to personalise our tone. This could have gone horribly wrong but the team over at Keeley have great experience and great ears so instead it worked out just fine!

ECCO CO Co co When Les Paul was creating the first tape delays he also stumbled upon the ability to create other effects simply by gently resting his hand on and off the tape reel. One such effect was flanging which slows down and speeds up one of two tapes running parallel. This history lesson is relevant as it has taken from then until now to put a flanging effect on delay trails in a single unit. Until now this was only possible with some very clever routing and normally only ever happened in a studio environment. The Eccos is much more than simply a delay with flanging on the trails though, so much of this pedal is adjustable and there are even some beautiful shimmer like tones which you can hear in our showroom playing style. Whats more with selectable subdivisions and an inbuilt looper this pedal is a super powerful tool able to do so much in such a small package. 

Size Matters At least thats what this pedal would have us believe because its knobs are HUGE!In reality though, it's what it does with it that counts and the Fuzz Bender from Keeley doesn't disappoint. Fuzzes tend to fall into one of two camps, silicon and germanium. The later is normally found in classic fuzzes and is slightly softer sounding than its aggressive silicon cousin. Robert Keeley however has gone down the route of having ones cake and eating it by putting 3 transistors in this pedal which are indeed a mix of the various aforementioned types giving a very unique sound and feel. What's more, control over the fuzz's bias means those hidden spluttery tones are now accessible from the top of the pedal if you feel like having a good time. 

Dark BloodThe Dark Blood from KHDK is one of the best selling and award-winning distortion pedals on the market. The association with the world's biggest Metal band (Metallica) of course has helped but the pedal holds up very well in its own right.Dark StylingAesthetically the pedal looks as metal as is possible, the tactile claret heart holds promises of dirty tones ahead. The chicken head knobs look taken directly from Satan's own farmyard. The clean side and jacks all up top provide the idea layout for pedalboard real estate too.MOSFET In The BloodMOSFETs are a component within the pedal's circuit which behave very much like tubes/valves in an amp. As such, pedals featuring MOSFETs sound and feel like you're playing into a great amplifier. The doom control tally's up with the MOSFET to produce real amp like low-end thump dynamics. At around 12 O'clock you will have all the gain you'd ever need, moving up from there will certainly cause rips to open in space-time, please use with care. If you're using this with an already heavy sounding amp, try using the volume as a first gain knob and then the gain to add texture. Treble controls can be very useful for pulling your tone away from the sound of symbols or bringing that feel back in when practising alone.Gates Of HellThe noise gate cuts out unwanted noise associated with high gain pedals, when you're not playing the sound is "gatted". Turning this control up can give you tight sounding riffs similar to using a compressor but without the squish. Keeping it down low will help keep quiet parts of songs or in between songs nice a quiet.Not Just A Dark PedalKHDK recommend utilising the Dark Blood as fly-rig into clean amps when gigging without you're own amp. This makes the Dark Blood extremely versatile and allows you to get YOUR tone where ever you may roam! 

FY... who? Sometimes it feels like back in the 60's every man and his dog was releasing a fuzz pedal and most of these were on of 4 or 5 pedals rebranded to suit. Shin-Ei, a Japanese company famous for creating the legendary Uni-Vibe also made the FY-2 fuzz which in turn was rebranded in the same way so many of the other classic pedals were, this example have the Kimbara branding but fear not as the guts are exactly the same as and other Shin-Ei designed FY-2. This fuzz circuit is interesting as reducing the gain doesn't. The "fuzz" control simply changes how gated the fuzz is, this provides a very staccato effect at the most gated settings and can be a lot of fun to play. On its own the FY-2 can seem a little jarring and almost offensive but when used in a mix with some effects such as reverb and/or delay its possible to create saw wave synth like tones as well as classic fuzz tones. This is one of the classic fuzzes which can be found at reasonable prices at the time of writing this, our "buy now" link will take you directly to a used market where you can check out prices for yourself. Its worth noting that Shin-Ei are now producing reproductions of these too, but we haven't tried those ... yet!

The KMA Audio Machines Wurm is a roaring beast, full of destructive in your face distortion. KMA called their 2017 released distortion Wurm after the mythological creature that is told to bring terror and fear upon the land. After hearing the pedal in action we see why....It is a mean beast, full of roar and power. The entire idea behind the Wurm to begin with was to create a more flexible version of the legendary BOSS HM-2 for that "chainsaw metal" invented by Swedish bands like Dismember and Entombed. As always, KMA took thought and consideration when designing the circuit, allowing the guitar player to get the maximum from the Wurm using a 4-band EQ in combination with internal switches for various modes. The TonePedia demos were made using the factory setting which is the HM-2 stock mode.

Versatility meets Quality The Astrospurt Phaser is another outstanding effects pedal made in Germany. KMA's take on the classic four-stage JFET based Phaser takes this modulation not one but two steps further. The controls are simple and smart. The output level is controlled by the SIGNAL knob, the wet/dry blend is achieved via the MIX knob and the DEPTH controls the intensity of the phasing. The slightly bigger knob called SPURT controls the speed which is indicated by two LED's. And as if this wasn't enough they added the EMPH knob that can be enabled via a tiny switch on the left to add some crazy noise, more oscillation and sonic artifacts. And for the sound geeks there's still more to discover with some internal controls...It's all-analog, true-bypass and absolute high quality when it comes to parts, manufacture and sound. Besides, the price is more than reasonable!

A True Germanium fuzz with a lot of versatility. KMA Audio Machines' Minos is a germanium based fuzz pedal perfect for garage, blues and basically anything. The 3-way switch allows you to choose between different fuzz types and in combination with the input, anger and cut controls you are looking at a extremely versatile fuzz pedal! Essentially the 3-way switch is called "Bass switch" and is there to help you tweak the tone based on the amp/guitar you use as some can be more bass oriented than others. But we really felt that it is much more than that. For the ones who dig deeper the overall character of the fuzz can be changed with two internal trim-pots which set the bias of the second and third transistor.The KMA Minos is really a modern take on vintage, sought after pedals like the Tonebender MKII and Superfuzz. While it can sound old and vintage, it can also do much more.

Vibrations from top to bottom. The Kremona M-20 delivers vibrant trebles with lots of sustain, tight and open low end, and it's a one loud guitar.When playing it, thanks to the choice of wood and neck set, you feel the vibrations throughout the entire guitar, we love that.Although the sides are made of laminated wood, the guitar sounds very organic and massive. Top and back are solid and made using nice pieces of wood. Actually the guitar in general is nice looking, nothing too fancy but simply a beautifully made instrument with tasteful herringbone inlay around the edges, gold/rosewood tuners and light satin finish.

Easy on the pocket and ears. Laminated back and sides are what making the Kremona F-10 a more affordable guitar. But have no mistake here, it is a one good sounding instrument which is worth every penny invested into it.The solid spruce top and Indian rosewood body work well together, projecting a healthy, big sound. Along with the TUSQ nut and saddle you get a vibrant, loud guitar.It feels good in the hand, the 43mm nut helps sophisticated chords come easy and the light satin neck finish is really comfortable and smooth.Within it's price range, it is absolutely worth your consideration.

Simple and good. Lag guitars are usually a great bang for the buck. The Tramontane T70ACE is a great example of that. It is a simple guitar which is nicely made and is good for the beginner guitar player or someone on a budget. On the first chord you will notice how easy it is to play it. The neck is slim and fast, the small auditorium body fits nicely and also the sound is sweet. Do not expect any boomy bass from it though, it is more of a brilliant kind of guitar. The DirectLag pickup system is easy to handle and delivers the goods.

Exotic woods at a killer price! With it's wood combination of Mexican Snakewood and AA Solid Sitka Spruce the LAG Tramonatane T270D is delight to both look at and play on. It is uncommon to meet guitars with such woods at this price range which makes the T270D and the entire Tramontane 270 series quite special. We found the T270D to sound as nice as it looks. The bass it delivers is tight, the overall sound is open and we liked the attack.

The T300ACE by Lag is a great mid-level / the on-tour guitar player kind of guitar. The solid Sitka Spruce and flamed Ovangkol are a nice combination with great looks and the high gloss finish gives the T300ACE a neat look.Sound wise the Tramontane T300ACE delivers a solid, balanced tone when unplugged. When plugged, the Fishman Ink3 system kicks in and is a great add to this guitar. Though requires a second to get used to, the eq knobs are more comfortable than the top-hat kind of knobs and the system sounds overall good.The playability on it is as you can usually expect from Lag, slim neck shape, slim nut, much fun.

Whole lotta guitar. Lakewood guitars are known for being well crafted and the J-50 Jumbo guitar we have received for demos served as a fine example to that. Opening the case was a thrill already, the AAAA European solid spruce was a joy to look at, so was the fine rosette work. Out of the case we were not disappointed! The J-50 is an open and vibrant guitar, it is well balanced and the string separation on it is superb. It does not deliver too much low end, on the contrary, the lows are quite tight and leave enough room for other tonalities to blossom. For those of you who need amplification, luckily the Lakewood J-50 comes with an L.R Baggs Anthem system which allows pure microphone and piezo combinations so fine tone through an amp or a PA system is easily achieved.

The Wee Lowden 50 is an incredibly loud and full sounding small guitar. The 50 Series is known as the Lowden Custom shop series where clients can mix and match woods as they like. It is a series where unique and breathtaking guitars are born. The WL-50 that came for demos featured Mahogany back & sides, Sinker Redwood top and is capable of producing a massive sound with a balanced tonality that can fill a room with ease. It is an extremely responsive guitar with wonderful highs and steady bass. The craftsmanship on the WL-50 is as always with Lowden, remarkable.

A Master grade guitar for the master player! Lowden's premium series is where ultimate guitars are born. The F-50c Bastone Walnut / Alpine Spruce we received is by all means a great example of Lowden's attention to the most delicate details and premium craftsmanship. The Walnut back&sides on it are dazzling, there is no other way to put it, so is the Maple bevel. The guitar plays effortlessly and has an extremely well defined and balanced tone. The depth and projection of this guitar cannot be expressed with words. We felt that the F-50c is a perfect guitar for the single, virtuoso acoustic guitar player or the solo singer songwriter, as this guitar needs and deserves space to shine.

A Master grade guitar for the master player! Lowden's premium series is where ultimate guitars are born, the F-50 African Blackwood / Sinker Redwood we received, like all 50 series guitar, came from there. First impression right after opening the hardshell case is already an experience, the woods and craftsmanship are screaming out this is a special guitar! The African Blackwood is one of the most beautiful tone woods out there, and the pieces Lowden use for the 50 series are the top of the top as they hand select each one. The F-50 AB/RW is definitely the Lowden that left us in awe.  

The Macmull Custom Guitars Heartbreaker is the newest oldest Telecaster style guitar we met! Vintage guitar lovers often cling to the past. You may agree, you may not, but there is something in old 50's and 60's Stratocaster and Telecaster guitar sound and feel that is unique and special. Macmull Custom Guitars are all about that – Getting that vintage tone in a newly made guitar!To achieve their goal the Israeli company studied countless of vintage Fender guitars, experimented with woods, pickups, weight and specifications. The result is the Heartbreaker, a lightweight Telecaster style guitar which simply put, sounds vintage! Macmull believes that lightweight wood sounds and reacts better, not to mention more player-friendly. That is why the company is very strict about the woods used on the Heartbreaker, each guitar has one piece Alder body which do not exceed 3,4 kg. Also on their necks Macmull went with the old school single action truss rods instead of the newer double action alternative which are more in use today. Why you ask? Because they found out that the body-neck resonance is better with the single action one. The true magic though, in our humble opinion, is in the pickups Macmull custom guitar wounds for the Heartbreaker. They are deep and tight with the right amount of punch a good old Broadcaster guitar has.Playability wise as we demoed the Heartbreaker we could not be happier, this guitar can carry a super low action yet be buzz free, it is super comfortable to play on. The Oval C neck shape sits perfectly in the hand and even the most complicated chord shapes come easy on the Heartbreaker.From top to bottom the Macmull Custom Guitars Heartbreaker is a stunning, musical guitar which may break your heart, or finally mend it.

The Macmull Custom Guitars S-Classic is a super lightweight guitar which delivers that elusive 50's style strat punchy sound in an authentic way! Vintage guitar lovers often cling to the past. You may agree, you may not, but there is something in old 50's and 60's Stratocaster and Telecaster guitar sound and feel that is unique and special. Macmull Custom Guitars are all about that – Getting that vintage tone in a newly made guitar!To achieve their goal the Israeli company studied countless of vintage Fender guitars, experimented with woods, pickups, weight and specifications. The S-Classic maple neck is a great example of the company's excellent craftsmanship and authentic approach to guitar making. Macmull believes that lightweight wood sounds and reacts better, not to mention more player-friendly. That is why the company is very strict about the woods used on the S-Classic, each guitar has one piece, super-light Alder body which do not exceed 3,25 kg, Insane! Also on the necks Macmull went with the old school single action truss rods instead of the newer double action alternative which are more in use today. Why you ask? Because they found out that the body-neck resonance is better with the single action one. The electronics on the S-Classic include CTS pots of the highest grade, paper-in-oil caps and in-house Macmull hand wound pickups which are matched to each guitar. The result is a punchy, dry and very authentic 50's-60's stratocaster sound and feel.The Madagascar fretboard on the S-Classic is 60 years old and fretted with Dunlop 6105 fret wire. Bending on this guitar comes easy and the intonation is perfect. Macmull shape their necks to oval C shape, which are not too beefy nor too thin, we found the playability of the Macmull Custom Guitars S-Classic to be excellent.

Pure analog signal path. Silver Spring Reverb (SSR) is a compact, easy to use digital/analog reverb with a pure analog direct signal path. It creates a natural sounding ambient reverb that will not get in the way of your original signal. The SSR’s sound is exceptional with a clean signal, but was specifically designed to work equally well with the tougher performance requirements of distorted tone. The SSR can be used before distortion, although it was primarily designed to go after. If you use the SSR before distortion, you may want to use a lower Reverb (Wet/Dry) setting.Built the Mad Professor way: small footprint and big tone.

The one for clean sound. The Mad Professor Amplification​ Deep Blue Delay is a natural sounding digital / analog delay, with an analog direct signal path and has about the same bandwidth as the classic tape echo units which can be used in front of an amplifier or in amplifier effects loops. Since there are no noise reduction circuits it keeps decay of echoes as natural as possible also the signal has a tuned filtering to allow extreme settings without any interference. Furthermore: the delay is specially designed to work well with distorted tone, as this is the most critical application, where delays often fail!You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.

A unique Focus control lets you adjust the feel and dynamics of the pedal as well as overall EQ. Mad Professor Sweet Honey Overdrive (SHOD) is a touch sensitive low gain overdrive pedal hand made in Finland. It is designed to overdrive distorted amplifiers and give dynamically controlled light overdrive on clean sounds. Distortion level can be controlled by pick attack and pickup strength. Harder picking for overdrive and softer for cleaner tone. With low settings on the Focus control you need to pick harder to get distortion and in general the tone is softer, great for jazz and blues. Focus turned clockwise will result in a slight treble boost and earlier distortion.This type of overdrive has previously only been found in the BJF Honey Bee but is now presented in Mad Professor version. The Mad Professor SHOD has a tighter sound and is more versatile as it was designed to work with all kinds of guitars and amplifiers. Like all Mad Professor pedals, SHOD is hand made in Finland using only premium components, to give years of trouble free operation with superb musical tone.

Marshall JCM800 in a box. The now vintage Marshall black casing pedals are simply put, awesome. The current underdog is the Drive Master which sounds great and juicy yet still affordable. The EQ stage is extremely wide, offering treble, mid and bass shaping options and the gain stage goes from clean to a well driven JCM800 kind of tone and that is also where its magic lies. That pedal combined with a good guitar and power chords is the sound of stadium shows, it is massive.

Clapton in a pedal. During his years with the Bluesbreakers, Eric Clapton had that sweet sounding combo made by Marshall which we all know from the recordings. Back in the '90s Marshall decided to recreate that sweet smooth overdrive sound in a stomp box and that is how the Blues Breaker MK1 was born. The Marshall Blues Breaker is an analog overdrive pedal which goes between boost to a light and organic overdrive which colours the guitar tone beautifully, so beautifully that some refer to it as one of the most important overdrive pedals of our times.

60-Year-Old Modern Bass Tones.  As the origins of man are something that fascinates us all, for gear nerds so do the origins of fuzz. Time and time again the story of the first fuzzes, then the use by the Stones and Jimi Hendrix solidified these tones in our minds.  It's hard to forget the first time we heard satisfaction and likewise, it’s easy to remember the first band you heard using a fuzz-driven bass guitar.An instrument that is traditionally in the background overshadowed by show-off guitarists yet holding everyone together like a loving patriarch the Fuzz’d bass suddenly jumps to the foreground with a real low-end rumble like never before.  So what happens when the low-end fuzz tones are driven by a 1968 Marshall Supa Fuzz (was the spelling a nod to the manufacturer???). Well, much the same thing as when a bass uses a Mkii Tone Bender as they’re pretty much the same, built by Sola Fuzz who made the Tone Benders. The Marshall Supa fuzz was made between 1966 into the early 70s and now cost a small fortune. Here you can try the rare Marshall Supa Fuzz on Bass which is something most of us will never be lucky enough to do in person. Tonepedia has been lucky enough to Tonecapture one for us all to enjoy!  

A Classic. Martin takes it's classic D-35 guitar and turns it to a stage beast to the professional working guitar player. Meet the DC-35E.Much like on the D-35, you'll find solid sitka spruce and east Indian mahogany on the Martin DC-35E, only the latter has a cutaway and an innovative pickup system by Fishman called "Aura VT Enhance".You'll find all that you expect in this great guitar. It is punchy and full sounding with a beautiful top end and overtones.From top to bottom, this instrument is beautifully made, but what got us really startled is the new Fishman Aura pickup it comes with.As a pickup, it is a good sounding, easy to use 1 tone knob pickup. But what's making it a serious add to an already great guitar is the new Enhance option.When activating the Enhance option, an additional transducer is coming into play and capturing energy of the guitar top while resisting the transverse energy that manifests in string squeak, body handling noise, and parasitic feedback. In simple words - every percussive beat and overtone you will play will shine like a star.

Martin tone in a small package. Did you know that the LX1E is Martin's smallest guitar? Probably you did. What you might have not known though is that it sports a solid Sitka Spruce top and HPL body which is an ideal mix for good sound with durability on the travel. The LX1E sounds great and loud when played unplugged. It is equipped with a Fishman Sonitone piezo pickup which immediately turns this compact guitar to a stage animal. When considering this little guitar's quality you'd be happy to know that the Martin LX Ed Sheeran signature model is fairly similar to the LX1E. Try it through our player, compare it to bigger guitars and play around with it to see if it is your new on the road companion. Enjoy.

Warm and rich mahogany tone with a perfect mix of tradition and innovation. The Martin 000-15M is a 14 fret auditorium size guitar with fantastic tone and playability.Solid genuine book-matched mahogany top, back and sides with Martin's X-bracing technique, solid mahogany neck with east indian rosewood fretboard, bone nut and saddle and Martin's years of experience make the 000-15M sing with a warm and round soothing voice. It's not an "in your face" sounding guitar, but an "in your soul" one.

Maxon, Maxoff The name Maxon isn't entirely familiar to many pedal users today however they're responsible from the most popular pedal ever.You see back in the 70's Ibanez were a brand which would use its name to sell products other companies made, they indeed did not make guitars, pedals, amps ... anything really. Ibanez asked Maxon to produce some pedals which Maxon and Ibanez sold at the same time. One such pedal was the FL-303 which you can also find branded as an Ibanez FL-303 ... Exactly the same pedal! What's nice about this all analog flanger is how subtle it can be while still being quite obviously a flanging effect. The overall appearance of the pedal wasn't carried on through into pedals such as the TS-808 , TS-9 etc which is what helps its curvy slightly oversized appearance to come over as charming. A fan favourite flanger, this one is a lot of fun!

Dirty Lil Secret The RAT style circuit has been replicated in all shapes and sizes and the Mooer black secret certainly has its own character in terms of size and sounds.There's much more treble available than on other models yet this sits more in the fizzy range which can clash with symbols in a live or recorded environment, however, dial the filter control to refine this and you have a good sounding RAT. The Black Secret also uses the LM308 chip which can be hard to find nowadays so this is a point for the Mooer!Another thing we noticed was how well it cleaned up, not unlike an early RAT. Although this isn't normally the reason players buy a RAT it's nice to have this option for some unique tones.

The first to have an on-board active eq. First introduced in 1976, the StingRay has been revered as one of the most iconic bass guitars in history. The StingRay was the first production four string bass to feature on-board active equalization. The flagship of the Music Man line, today's StingRay is the same as it was some forty years ago featuring a solid roadworthy construction, massive hardened steel bridge, elegant oval pickguard, 3+1 tuning key configuration, and the ever popular Music Man humbucker. All of which combined produce a look, feel and sound that are remarkably unmistakable.

The pedal for real rich, warm analog delay... The MXR Carbon Copy provides a delay time of up to 600ms. With the modulation switch that sits on top of the device and the internal trim pots, you are able to create unprecedented delay tones. The Carbon Copy has an all analog audio path that delivers warm delay sounds. The 3-knob layout design with Delay, Mix, and Regeneration makes this pedal very easy to work with, and when combined with the modulation switch, you are looking at a wide range of sound possibilities, from a fairly compact pedal. We invite you to take the MXR Carbon Copy M169 for a ride on the TonePedia player and find out why it is one of the best selling delay pedals out there.

The musical compressor. The MXR Dyna Comp that was produced in 1976 has long been regarded as the ultimate stomp box compressor. There’s something inherently musical in the way it “tightens up” a guitar signal, raising the volume of quiet notes and leveling off peaks to create rich, full bodied sustain. From country twangers to metal monsters, guitarists have long relied on the MXR Dyna Comp to make their riffs stand tall in any live or studio mix. And now the MXR Custom Shop brings back that highly sought-after sound with the ‘76 Vintage Dyna Comp.

Carbon Copy with a brighter sound! The MXR Carbon Copy Bright is a modified version of the beloved original Carbon Copy delay that offers the same features with a brighter sound. The bright version is not supposed to be a competitor to the original one but it is created as an alternative to it. The Carbon Copy is famous for the fantastic saturated and vintage sound it delivers, and the added mod switch. The repeats on the Bright version are more defined and distinct. Choosing between the two is not easy as for some musical pieces the Bright version fits better, while for other the standard version does. Compare both MXR Carbon Copy pedals on the TonePedia player to make your pick.

One of a kind looks and sound. Designed by Lorenzo Palmeri, the Noah Paraffina is unique in both sound and style. It was designed, believe it or not, with the infamous telecaster body shape in mind. Lorenzo and the Noah team decided to give the Paraffina a handle instead of upper horn, and remove the lower horn almost completely for an easier access to higher frets. The Noah Paraffina is a smooth player guitar with perfect weight and a twangy sound. The reaction of the Aluminium body is fantastic, get ready for a lot of attack and an overall well defined tone.

When a Tele dresses goes Aluminum. The Telecaster shape is one of the most guitar shapes out there. While most times you will not see the difference between one Tele to another on first look, with the Noah Slim it's a different case – It is made of Aluminum.The Italian boutique company took all we love in the original Telecaster model and put it into their superbly crafted Noah Slim. Two great sounding Lindy Fralin Steel Pole 43 pickups will grab and deliver the twang for you, the Maple handmade neck feels great in the hand and that Aluminum Alloy body adds the Noah uniqueness to the sound and attack.

There Was Once A Pedal Which Swallowed A Horse In the grand scheme of things there are a LOT of pedals in the world and so many of them are clones of other pedals. Most of these fail to improve upon the originals in any way other than a tonal variation which is likely more luck than judgment. One pedal which has seen its fair share of clones even had its own nickname for the copies ... of course we're talking about the Klon Centaur and subsequent "Klones".However if there's one pedal in the world which needs "kloning" its the Klon, because these things cost a fortune. But Nux isn't the first and dare we say they'll not be the last to make a Klone and a great price so what makes this any different?? Firstly its extremely tiny which is amusing due to the Klon being HUGE. It has a switchable buffer and as pedal fanatics know, the Klons buffer is legendary. But what really stands out about this pedals is A) It sounds amazing and B) its two pedals in one!!! You see, everyone expected this to sound "not very good" but instead it sounds extremely close to the originals. By holding down the footswitch you swap from gold to silver mode which has slightly higher gain, what a fantastic way to go about something that others have never done. This clearly goes to show how NUX are not some faceless company but instead these guys love pedals just as much as we do!

An Orange amp in a box. The Orange Getaway Driver is an Overdrive pedal which will send you into vintage territory. It's Class A circuitry delivers a rich harmonic content while staying responsive to your playing.This amp-in-a-box needs no more than three dials to get from a cranked AC-30 to a solid creamy blues-rock experience. The bite knob works as a tone control which focuses on high frequencies while leaving the lows pretty untouched. An internal switch even rolls off frequencies above 20kHz. The additional buffered headphone out with cab simulation can be used for quiet practicing, to go straight to an interface or via a di-box to the PA. Nice add-on! The pedal operates on a standard 9-volt power supply to emulate EL84 valves or 12-volt for the EL34 flavour.The Orange Getaway Driver is definitely worth a ride!

Classic Tones - Modern Control Why the name Fur Coat you may wonder, if you did ... good question! This pedal is based on a Foxx Tone Machine which had a furry covering ... mystery solved! The Foxx Tone Machine had a much more complex circuit than the standard fuzzes of the era and included an octave up on a toggle switch. As with all things classic fuzz people love how they all sound for different reasons. Orange have been very loyal to the original tone while adding some much needed upgrades. First things first, the controls are moved from the side of the pedal now to the more conventional top. Secondly and just as importantly, the toggle switch to engage the octave is now a footswitch meaning you can turn it on mid song! The Octave also now features its own control allowing you to blend in just the right amount of upper octave to suit the tone you need. Compare the Fur Coat to the classic fuzzes on tonepedia and hear how you can save $20,000 (yes one did sell for that much) with this awesome offering from Orange. 

An Orange Army Knife When it comes to pedals for acoustic guitars EQ's are top of the pile solely because no single guitar works perfectly for every stage/room. Sometimes you just need a bit more other times just a bit less in order to tame feedback and to help nail those pesky frequencies the Orange Acoustic pedal not only features a mid control but also allows you to focus the mids with an added Q range control and notch knob. A very helpful phase switch allows users to be heard no matter what rig or band they play with. Its worth noting that these pedals don't always need to be a noise tamer, they can be used as effects themselves by making your small acoustic sound big and visa versa. and the ability to use them to create controlled feedback providing a pad style overtone is massive amounts of inspiring fun.

Not Like The Other 1The ODi is based upon Stephen Pettyjohn's own vintage BOSS OD-1. The story goes, "Stephen’s first overdrive pedal back in high school was a 1978 Boss OD-1 and it served as his main overdrive for more than 10 years. He sold it when the prices for an original went sky high a few years ago but missing “that” sound he set out to recreate a pedal that captured the tonal characteristics that he loved about the original while adding the features he always wished he has on the original."Since the original was the worlds first true "overdrive" this is a modern classic. Interestingly the pedal can be ordered with Mods such as the Classic Mod featuring Two JRC4558 op-amps, full complement of vintage tone parts for the warmest, most vintage experience.and the NOS Clipping Mod which adds the original New Old Stock (NOS) 1S1588 silicon diodes to the clipping section found in the earliest, most coveted OD-1 pedals.We've also demo's the pedal with these mods too for you to compare!

Not Like The Other 1.5The ODi is based upon Stephen Pettyjohn's own vintage BOSS OD-1. The story goes, "Stephen’s first overdrive pedal back in high school was a 1978 Boss OD-1 and it served as his main overdrive for more than 10 years. He sold it when the prices for an original went sky high a few years ago but missing “that” sound he set out to recreate a pedal that captured the tonal characteristics that he loved about the original while adding the features he always wished he has on the original."Since the original was the worlds first true "overdrive" this is a modern classic. Interestingly this pedal features Mods such as the Classic Mod featuring Two JRC4558 op-amps, full complement of vintage tone parts for the warmest, most vintage experience.and the NOS Clipping Mod which adds the original New Old Stock (NOS) 1S1588 silicon diodes to the clipping section found in the earliest, most coveted OD-1 pedals.We've also demo's the pedal without these mods for you to compare!

Rat TwoThe Pro Co RAT is a legendary pedal effect, originally built in the 1970s when Scott Burnham decided he can produce a better distortion than the many famous units he repaired along the years.Over the years there have been subtle changes to the RAT 's circuit which we've worked hard to showcase by presenting this modern day RAT along side both an '87 and an '86 RAT so you can hear for yourself if there really is any difference. The Rat is so famous that other distortion pedals are measured against it. Hear the Rat on some of the most influential recordings from the last three decades, the list of famous guitarists is simply too long in order to list them here... but here are a few names that should be familiar to you: Kurt Cobain, David Gilmore, James Hetfield, Andy Summers, Joe Walsh and so on...

Rat 1986The Pro Co RAT is a legendary pedal effect, originally built in the 1970s when Scott Burnham decided he can produce a better distortion than the many famous units he repaired along the years.Over the years there have been subtle changes to the RAT 's circuit which we've worked hard to showcase by presenting this 1986 RAT (the release date for these is down as 1987/8) along side both an '87 and a modern day 2022 RAT not only on Guitar but also on Bass. You can now hear for yourself if there really is any difference. The Rat is so famous that other distortion pedals are measured against it. Hear the Rat on some of the most influential recordings from the last three decades, the list of famous guitarists is simply too long in order to list them here... but here are a few names that should be familiar to you: Kurt Cobain, David Gilmore, James Hetfield, Andy Summers, Joe Walsh and so on...

So much history in one pedal! The Pro Co RAT is a legendary pedal effect, originally built in the 1970s when Scott Burnham decided he can produce a better distortion than the many famous units he repaired along the years. The Rat became so famous that other distortion pedals were measured against it, you can literally hear the Rat on some of the most influential recordings from the last three decades. The list of famous guitarists is simply too long in order to list them here... but here are a few names that should be familiar to you: Curt Cobain, David Gilmore, James Hetfield, Andy Summers, Joe Walsh and so on...The version we demoed here is an original 1987 Blackface ProCo RAT. It uses the LM308 chip and has no on/off led.

It's an Outrage! Really, a solid AAA Spruce top on a ±350$ guitar is an outrage! For that kind of a price you are happy if you get a guitar that sound decent but Prodipe surpasses "decent" big time with the SGA100. The wood choice of Rio Type Rosewood body and AAA Spruce top are not the only great things on the Prodipe SGA100, it is also really comfortable to play, the intonation is spot on and the general feel of the instrument is simply good. You can really see that Prodipe invested thought into the SGA100. For those of you who seek for an amplified guitar, check out the Prodipe SGA100 CEQ which can also be found on TonePedia.

A Minor revolution. At this price of around 200€ the Prodipe SA27 MHS Auditorium is a killer guitar. The choice of all Mahogany body & top is soothing both the ear and eye, and the guitar is comfortable and easy to play.Prodipe uses heat treatment to arch the back of the SA27 MHS, it also has no bracing. The result is simple: more projection and loudness. Prodipe calls this technique "ARCH-BACK" and applies it to all of their guitars under the 27 series.

It's an amplified outrage! Really, a solid AAA Spruce top on a ±375$ guitar is an outrage! For that kind of a price you are happy if you get a guitar that sound decent but Prodipe surpasses "decent" big time with the SGA100 CEQ. The wood choice of Rio Type Rosewood body and AAA Spruce top are not the only great things on the Prodipe SGA100 CEQ, it is also really comfortable to play, the intonation is spot on, it has a pickup and the general feel of the instrument is simply good. You can really see that Prodipe invested thought into the SGA100. For those of you who seek for an unamplified guitar, check out the Prodipe SGA100 which can also be found on TonePedia.

The SE version of the first PRS guitars! The PRS Standard 22 is an electric guitar which is based on the first PRS guitars built in 1985 by Paul Reed Smith. This made in Korea SE Standard 22 Version has a solid body, 3-way toggle switch and two humbuckers, just like the original which made PRS so famous. Its Mahogany body and glued Mahogany neck gives the Paul Reed Smith SE Standard 22 a fantastic sustain with goes well with its warm tone and clear mid-range. It is a great budget guitar that suits a wide variety of musical styles.

An affordable Santana Signature! The PRS SE Santana is the affordable version of the PRS Santana Signature electric guitar. While the PRS Santana is built from high quality woods and components made in the USA the SE version is built in Korea and therefore much cheaper. That though does not mean it is cheap in any way! The guitar uses the PSR in-house designed tremolo, tuners and the SE Santana humbuckers which deliver clean, warm and crisp sound.

A drunk Bavarian Buzzwords and phases are thrown around the pedal industry more than ever before and Power Amp Distortion sure fits into that category. The Grantler by Red Sun FX is just that, but what does that mean? Put simply, normally amp overdrive comes from the pre-amp with much smaller Valves/Tubes and much easier to create driven sounds with. The power amp section of an amp turns up the volume so we can all hear it. HOWEVER It is possible to push the massive power-amp Valves/Tubes so hard that they will clip (create overdriven tones). The result is a monstrous deep throaty roar normally unobtainable by any other means. Except ...That’s exactly what Red Sun fx have created here. The name Grantler means a loud pub drunk in Bavarian which is perfectly fitting. The unique design incorporates a 1w power amp to cleverly replicate the tone and you decide how much beer to feed the monster. If you’re looking for a driven tone thats different and still versatile then your looking in the right place here!

It is a clean fuzz. yes! When we guitar players think FUZZ, most times we picture a roaring guitar tone which breaks and goes wild. But fuzz pedals did not start this way. In fact, the first officially released fuzz pedal, the Maestro Fuzz Tone FZ-1 was a lightweight fuzz pedal and with this spirit the Red Sun FX White Fuzz was designed. We love how this pedal cleans! On low gain the White Fuzz can be even considered as a fuzz boost. On high gain the fuzz is healthy, organic and beautiful. The circuit is somewhat based on the Dallas Arbiter Silicon Fuzz Face and contains indeed silicon transistors. Thanks to the wide array of gain and tone ranges, we find the Red Sun FX White Fuzz to be a quite versatile vintage style fuzz pedal.

A german take on the Green Russian. The Green Russian Big Muff is such a legendary effect pedal. As such, it is the basis for other companies' creations and the Red Sun FX Mammut Muff is one to point out. Red Sun FX added some sweet features to make this pedal versatile for a large variety of music styles and instruments too. For example, the BLEND knob which makes this pedal also suitable for bass guitars, or the MID and PRE-GAIN internal knobs plus the different DIP switches with which you can tweak your tone to a desired sweet spot. Worth mentioning that this pedal was demoed by TonePedia using the default manufacturer setting of all internal controls and switches. Try comparing the Red Sun FX Mammut Muff to the new version of the Green Russian by Electro-Harmonix to see how Red Sun FX took their take on this legendary effect pedal.

When Is A Delay Not A Delay? When it's a chorus! That's right folks BUT to call this pedal either of the above effects is truly in insult in itself to the capabilities of the Binary Star.Red Witch have created something here which feels like an entirely new effect, yes it can do pretty much straight forward delay tones and yes the chorusing sounds like the reincarnation of the holy Boss CE-1 but when we start to toy with the in-between positions beautiful and sometimes crazy new tones immerge and this is what spouts creativity from the player.The unfamiliar yet pleasant tones will draw from us fantastic new ways of playing. Yes it sounds like we're totally in love with this pedal and we totally are but for the sake of balance its worth stating that there are some insane tones in this pedal that even the most devout ambient musician will struggle with and we've totally left them in the demos for you to experience all the pedal has to offer. Finally we must say something about the pedals aesthetic as it's nearly as lovely and unique as the pedals tones themselves. The off white against the deep purple knobs shouldn't work but somehow it does in the most pleasing of ways as does the sideways lay out which thanks to the top mounted jacks is entirely pedalboard friendly. Well done to Ben at Red Witch for creating one of our favourite pedals this year!

Mary Poppins Guitar Fold-able guitars are nothing new. Since the first hippy decided to wander shoe-less into the desert with nothing but a guitar and a carrot the wish to pack up our trusted and loved musical wonders for travelling more conveniently has existed. I'm sure the desire goes back even further than this but it paints a lovely picture. The thing is most fold-able guitars are short scale and many are acoustics and even then what about the rest of the rig right!? Well our friends over at Reveho have decided the time has come to solve this dilemma, introducing the Slite. When all packed away you have nothing more than a case which looks much like it would hide a laptop inside. Upon opening and assembling the Slite (which Reveho claims takes 20 seconds) we have ourselves a full electric guitar which can run into a traditional rig OR can utilise the inbuilt Effects, Amp and Speaker as featured on tonepedia.The maple neck is very tasteful and the body falls in somewhere between a 335 and a les paul size wise. The offset single cut shape screams with style and all the versatility is at you're finger tips. The Slite on Tonepedia Features single coils in a humberbucker sized cover but you can also order the Slite with humbuckers or a mixture of both. Everyone at the Tonepedia HQ initially wanted one of these upon the reveal as they're so useful. Try it out and let us know what you think. 

The 4003 is  the Classic Rickenbacker bass which is famous for its ringing sustain, treble punch and solid underlying bass. A subtle strip of binding graces the elegantly curved body and the Rosewood fingerboard. Deluxe triangular inlays and stereo capability are standard features.       

An historical model for the contemporary player. When the OM (Orchestra Model) was introduced in the 1920's, it was considered a large bodied acoustic guitar designed to be louder than other orchestra instruments. Today, with the Dreadnought, Jumbo and Super Jumbo models, we consider the OM a small bodied, yet pretty loud guitar, which fits finger picking and solo artists. The Santa Cruz OM model is a very clean guitar, you will not find on it any unnecessary ornaments and add-ons. It is clear sounding, has loud trebles and mid-range with healthy natural bass. It plays smoothly and is perfect for finger picking and flat picking.

An all Mahogany OO that tells the stories of the past. Don Edwards keeps the cowboy, one voice one guitar tradition going for over 50 years. Santa Cruz decided to honor his legacy and dedication with a beautiful, all Mahogany signature model. Don and SCGC's Richard Hoover designed the Don Edwards Cowboy Singer most probably with the famous Martin OO-17 in mind. They kept it simple looking but when it comes to sound the diversity and depth of the Don Edwards Cowboy Singer is all but simple. The loud and rich sound this small guitar projects is a wonder really, the only explanation we can think of to it is Santa Cruz's advanced building techniques. The Don Edwards Cowboy Singer can love, laugh, cry and hurt, just like a good cowboy song.

Small body, extraordinary sound! The Santa Cruz H13 was inspired by the Gibson Nick Lucas Special â€“ a guitar that Bob Dylan played in his early days – in regards of the 13th fret where the neck joint is. Its deep body and the carefully selected woods produce a voluminous and resonant sound with a well-balanced and natural tone incl. rich bass which other small-bodied guitars are not able to deliver. Explaining with words is just not possible, check out the demos on the TonePedia player.

A Piece Of History In More Ways Than One The Verzerrer Fuzz came at the time when most of the world was flourishing into something new and amazing.Pop was turning into Rock and musicians everywhere where able to create new unheard sounds where'as before the most exciting things we heard we Elvis and his shacky legs now we had the Stones turning something which sounded broken into music which captured the imagination of a new type of person ... The Teenager!!! This was all very exciting but in certain parts of the world life was a VERY different story. After the end of World War two, Germany was divided in half where one side re-grew strong and the suffered. Still despite the tension and hard times the progression felt across the world creeped in and made itself. If the people in Eastern Germany couldn't buy a fuzz pedal then they would bloody well make one, and they did!The Verzerrer Fuzz was the result ... how did they do? How do you think it compares to other fuzzes from the era? We think they did great!

A natural sounding beauty. Seagull Guitars always had their unique sound when played plugged or unplugged. The Maritime SWS II QIT is definitely a part of Seagull's family of models, with its natural sound and sweet looks. Being a part of the SWS line (Solid Wood Series), the Maritime SWS II QIT has solid mahogany body and solid spruce top, finished beautifully. Equipped with the Godin QIT pickup, this guitar is stage ready and if you are in need of a cutaway simply check the CW version of this very same guitar. As for sound, try it on our player, enjoy.

New spirit to Seagull's Artist Line. The Seagull Artist Mosaic Natural CW HG Anthem delivers everything you'd want in an acoustic guitar for a fairly good price. The combination of Mahogany body and solid Spruce top is known to deliver warm, yet responsive sound, the ample cutaway is aesthetic and handy and the L.R Baggs Anthem is perfect for the stage. Playing the Seagull Artist Mosaic Natural CW HG Anthem is easy, the neck is extra comfortable and fits most hand sizes. Sound wise expect a healthy and full tone with some emphasised low and high mids, you can really hear the special reserved spruce top and high gloss on this one. By the way, the Artist Mosaic Natural CW HG Anthem and the entire Artist line are the loudest Seagull guitars made to date.

So Good We Bought OneThe award winning Seagull S6 is widely considered by many as the best guitar in its price bracket, with such a fantastic build quality and spec the s6 punches WAY above its fighting weight.Featuring a pressure tested cedar top, silver leaf maple neck, custom polished semi-gloss finish, and a bolder look on the neck, back and sides this is the perfect acoustic guitar for someone who wants a mid to pro level instrument. The midrange sits a tiny bit lower providing the perfect amount of space for vocals while still retaining mellow lows and crisp highs without any piercing unpleasant presence. This guitar is perfect for singer songwriters or electric guitarists who want a decent acoustic without spending a huge amount.The Seagull headstock, while divisive for some does follow a logical, function path. In a similar move to the PRS headstock this keeps all the strings straight after the nut which improves tuning stability and just in case you were wondering, it does sit in a guitar wall hanger with no issues. This guitar is so good that after hearing our demos one of our team bought one recently and utterly loves it!

A wonderful guitar at a brilliant price. Well, this nice sunburst example of the Sigma DM-1ST is not a standard Sigma model as it is a custom Just Music model made by Sigma Guitars in sunburst finish. You can get this guitar in natural finish everywhere but if you like the sunburst one just order it from the folks at Just Music. We really like the Sigma DM-1ST and consider it as one of the best beginners or backup guitars out there. It looks good, it feels good, it sounds good. The guitar we received had a nice looking Mahogany body and extra comfortable neck. the sunburst finish was well done with the Sitka Spruce top half visible through it. Most low budget acoustic guitars suffer from poor fret and intonation job, that was absolutely not the case with the Sigma DM-1ST-SB, no stingy points or dead notes could be found. For those of you who require amplification, be sure to check the DM-1STE or DM-1STE-SB.

A travel companion. Travelling is fun. It is much more fun though when bringing a guitar along. The Sigma TT-12E-SB+ is a great travel companion as not only it is small, but also good sounding and equipped with a nice piezo pickup for the performers amongst you. Prices below 500$, it is really one you should consider when shopping for travel guitars.

The cheaper all mahogany Martin... The Sigma 00M-15S Acoustic Guitar is part of Sigma’s leading 15 series and features a solid Mahogany top and Mahogany back and sides grand concert size body to produce a deep and warm tonality. Also with a mahogany neck, 20 fret Indian Rosewood fingerboard, bone nut and saddle and Grover open geared nickel machine heads the 00M-15S provides quality above its price range and has an attractive natural mahogany finish.

Rare As Rare Can Be 1.5 may not be the correct term for this pedal but it's the one we all use so lets go with it. These weren't just made between the 1 and the 2 how ever they are very limited and were not part of the main range. The biggest difference of the 1.5 is unlike the 1 and the 2 which have three transistors this has only two which makes it much more like a fuzz face circuit than a traditional Tonebender. As a result these fetch a very high price on the pedal market and are the subject of many Tonebender clones. 

Classic CopyThere's something magical about these vintage pedals that make them sound so good, this infact is a re-issue from the legends at Macaris.From the first note on the Colorsound (Sola Sound) Supa Tonebender re-issue, we were blown away by powerful and organic fuzz tones.Believe it or not, Sola Sound built the Supa Tonebender as a clone of EHX's 1973 notorious Ram's Head Big Muff.It seem that their goal was to build an exact clone but at the end they modified the circuit a bit. Some websites claim that Jimmy Page used the Supa Tonebender, we think he only used the previous Sola Sound Tonebender versions from the late '60s.One notable guitar player that did use the Colorsound Supa Tonebender is Steve Hackett from Genesis who apparently had a lot of fun using this unit.

When It Started Getting BIG There's something magical about these vintage pedals that make them sound so good?! From the first note on the Colorsound (Sola Sound) Supa Tonebender, we were blown away by powerful and organic fuzz tones.Believe it or not, Sola Sound built the Supa Tonebender as a clone of EHX's 1973 notorious Ram's Head Big Muff (V2).It seem that their goal was to build an exact clone but at the end they modified the circuit a bit.Some websites claim that Jimmy Page used the Supa Tonebender, we think he only used the previous Sola Sound Tonebender versions from the late '60s. One notable guitar player that did use the Colorsound Supa Tonebender is Steve Hackett from Genesis who apparently had a lot of fun using this unit.

Boost your sound to no limit! The Schaffer Replica by Solodallas is a so called compander, a 100% analog pedal effect that houses a compressor and an expander in one box using SMD components. The compact pedal is a replica of the original Schaffer-Vega Diversity System and brings the famous sound heard on albums such as AC/DC's Back in Black and Highway to Hell. The TRS delivers a warm, clear and full tone and brings the sound of your signal to the foreground, a clean boost of up to 30db can be reached. The Solodallas "The Schaffer Replica" is a handcrafted and extremely versatile pedal effect that is loved by many genres.

A pedal that boosts your sound!Storm is the latest increment of Solodallas' product line and replicates the original Schaffer-Vega Diversity System compander (compressor-expander) in a compact way. The circuit is 100% analog and delivers a clean boost of up to 30db. The Storm pedal effect is handmade in USA and contains high quality SMD components. The original version and big big brother of the Storm (The classic TSR) was used by many of the heaviest players in the industry, notably Angus Young himself on AC/DC's Rock or Bust album and tour. Guns n' Roses' Richard Fortus (close friend of Angus Young) is presently using the GT for the entire 2017 Guns n' Roses Not In This Lifetime Tour. Keith Urban, Pino Palladino, Keith Richards, Billie Joe Armstrong, Sting, Scott Metzger, Lettuce, Blackberry Smoke, The Biters, Airbourne, Isaiah Sharkey, and Coco Montoya are some of Solodallas' active artists who use the TSR onstage and in the studio.

S-S-S But Not As You Know ItAs we allude to in the title that is not a Humbucker, it is however two SQR Alnico Single-Coil pickups very close together. Somehow it makes this guitar look totally different and is the thing most of us would notice first ... but keep going, check out that neck! Roasted maple necks came into "fashion" in recent years but were normally the mark of a super high end and generally expensive guitar. This Squire is extremely great value for money, and if you're just starting out playing or looking for a guitar to mod then this is the place go!

The Best Strat Colour Candy apple red has to be the best colour for a Strat, from afar its a nice shade of red and up close the sparkle is just right, not too much not too little. The classic vibe series has been around for a while now and is revered by many as the best starter guitar line up on the market, so when they make one looking this great its an absolute no brainer for beginners and experienced guitarists alike. Yes you can get those glassy bluesy tones from a guitar like this but never forget the number of hard rocking tunes also recorded on Strats such as almost the entire early catalogue of Deep Purple records. Strats are where most of us start out and there likely isn't a better starting point than this specific Strat!

Not For Country ... or maybe it is!? The Squier Contemporary Telecaster RH RMN despite its low price is fully loaded with great parts. The SQR Rail and Atomic pickups are aggressive with just enough dynamics to make this a guitar for all occasions. Check out the looks too, roasted maple neck and fingerboard matched with the sticking colour, no one is going to accidentally pick up your guitar thinking its theirs and everyone will want to know more about it!

The Ray4 bass is the cousin of the Music Man StingRay 4 bass. Classic, iconic instruments that defined a generation of bassists since the late 70′s. Active electronics, low noise hum bucking pickups, rock solid hardware and a simple, uncluttered look that is instantly recognizable and respected.

The Ray4 bass is the cousin of the Music Man StingRay 4 bass. The Sterling by Music Man S.U.B. Ray 4 BK is a four string electric bass guitar from the S.U.B. series with a fair price for such a good finish. The bass has an ash body and a MM-designed low noise Humbucker from Music Man. The features include also a Maple Neck with a Rosewood Fretboard and 21 Frets.

When Evolution Met Evolution The Boden range took every aspect of the guitar and looked at what could be improved, this we know. Yes they did indeed improve upon the frets, introducing fan fretting. However when someone came along who offered further innovation Strandberg were very open minded and could see how the True Temperament (TT) system would further evolve their masterpiece. TT is based on the principle of perfect intonation on each and every fret giving players the most perfect notes possible. The system has been picked up and endorsed by many famous players, none more so the mighty Steve Vai. The rest of the guitar is based upon the Boden Fusion which is a guitar for every style, capable of rich clean tone up to roaring metal and rock perfection via a lovely pair of Suhr pick ups. For many fan fretting was a step too far until they tried it and realised how natural it felt and TT will be much the same ... don't overthink it! Bends and vibrato feel as natural as ever, as a boy once said "It is not the spoon which bends, it is only yourself!" You must give this system and in particular the Strandberg Boden TT a go as soon as you have a chance, let us know what you think of our interactive demo online on Facebook and Instagram.

An Evolution of an evolution This Strandberg* Boden is very likely unlike the rest of the range, somehow Strandberg have improved on their own improvements. Neck Thru instruments are commended by players for the excellent resonance and feel through the neck. Most neck thru instruments are basses due to the requirement of extra resonance. The Wings of this are chambered alder which allows Strandberg to tune the overall sound by the amount of chambering. Across the entire top is a Flame maple top which ties everything in together in a beautiful manner.   The entire Boden range pays careful consideration to how we play differently at various parts of the fretboard the specialised neck carve adapts our hands to more easily reach those harder to reach notes effortlessly both low down and high up the neck. However on this model takes that a step further allowing even easier access to the highest notesThen the frets which are fan fretted. This isn't done so for appearance, the subtle fanning gives greater accuracy to intonation without making notes strange to play. Strandberg says this is the pinnacle of the Boden range and it's easy to see why.

A bright light in a sea of stars The pedal world is densely populated, not least in the low gain overdrive sector. So when Tate FX created a design for a great sounding low gain, mid humped overdrive the question was asked ... Is this really needed? The answer was obviously yes, but why? Simply put along with the above average build quality, highest fidelity components and attention to detail we've come to expect from all Tate FX pedals there was also the approach of using Asymmetrical clipping with allows for greater dynamics and responsiveness. Stu Tate also worked long and hard on creating a clean blend which was more than the average strategically placed volume control. The blend control took nearly as long as the rest of the pedal to design as it was vital for every position to be musical. The Antares therefore is well named after one of the brightest stars in the night sky and is now being used by stars in their own right the world over. This pedal has won prominent positions on several gear groups annual awards and continues to be seen on an increasing amount of pedalboards online.

Like a zombie Raise the Dead hit the pedalboard world around 2017 and has been super popular. In a world where every new pedal tries to squeeze as many controls onto every mm of space, a pedal with a single knob it could be seen as a breath of fresh air. It could be the zombie theme as zombies were still in vogue at that point. Whatever the reason for the initial impact being so strong, what has maintained its presence is the sound and ingenuity. Here's why: STATEMENT :- Fuzz face type circuits sound their best when turned up full! Most things musical are subjective but this is not. However a lot of people do not attempt this SO Tate FX did it for them. The gain of the RTD is set to max and you dial in the required volume, as the volume increases you therefore push your amp harder causing amp clipping too. Internally a transformer deals with any external buffer interference making the RTD a pedalboard friendly fuzz.

The all-arounder by Taylor. The acoustic/electric Grand Auditorium 414ce responds well to an array of playing styles thanks to Taylor’s proprietary body shape and the expansive tonal palette of ovangkol and spruce. Expect a blend of power and tonal definition, especially in the midrange, so whether you like to strum, flatpick or play fingerstyle, the 414ce makes a great playing partner. Contemporary aesthetic strokes include white binding, Italian acrylic dot fretboard inlays, a three-ring rosette, and a full-gloss body. The guitar comes equipped with Taylor’s Expression System® 2 acoustic electronics along with a Venetian cutaway, and ships in a Taylor deluxe hardshell case.

Ok. This one is gorgeous. Look at it. The Silent Satin Wild Honey Burst finish on this guitar is to die for. To us the Taylor Builder’s Edition 517 WHB sounds, well, as what a vintage Taylor may sound one day. It is a bit drier and more woody than the usual Taylor sound, yet retains the unmistakable Taylor high-mids' sparkle. One of the more interesting features of the Builder's Edition is the compound-carve neck profile that compensates for the change in your hand position as you move along the neck, it actually works and does improve playability. Naturally being a Builder's Edition, this 517 WHB sports some other premium features too, like chambered body edges, contoured fretboard edges, Curve Wing bridge and more. The Taylor Builder’s Edition 517 WHB enjoys Taylor's V-Class bracing technique which gives it more projection also when played lightly. This version comes without a pickup but if you need one be sure to check the Taylor Builder's Edition 517e which has the onboard ES2 pickup system.

Taylor on a budget. The distinctive 200 Series Deluxe category is loaded with high-end performance appeal.A smooth sunburst adds vintage flair to the solid Sitka spruce top on this layered rosewood Grand Auditorium. Deluxe features include a full-gloss body, Expression System 2 pickup and preamp, a Small Diamond fretboard inlay, and a standard hardshell case.Whether you’re a beginner or a pro player, Taylor’s balanced tone and superb intonation will help you sound your best.

The small yet big reverb by TC Electronic. TC Electronic Hall Of Fame Mini is small but sounds very big! It’s one of the best Bonsai-Edition reverbs TC ever made. This pedal effect provides almost boundless sonic possibilities. The TonePrint editor helps to individualize your reverb sound. Thanks to the analog dry through you also get an unconverted sound with much transparency and very low latency.

Flying solo. First impression of the TC electronic Tube Pilot Overdrive - wow. It is awesome sounding, in our opinion of course. You have your own ears so test it interactively on the TonePedia player and make your own mind. At a killer price of approx 50$, this 12AX7 tube driven overdrive is a steal. It is so easy to get a warm sound from this pedal, it is great for solo or rhythm and delivers fantastic vintage style tone. We see it as a great option for blues and classic rock players who seek for a dynamic and inexpensive tube pedal. Please take into account that the TC electronic Tube Pilot Overdrive does not take batteries.

A rotary emulation that sounds like the original! The TC Electronic Vibraclone Rotary pedal effect offers the same dynamic sound of the classic rotating loudspeakers from the 1960's that Hendrix, Trower, Harrison and Gilmore used for their legenadry tones. You have two modes, Chorale and Tremolo and two turning knobs, one for Speed and one for Drive to create the rotary sound you are looking for. The TC Electronic Vibraclone emulates the Rotary speaker quite nicely, there were moments where we could almost feel the rotating loudspeakers moving in the cab. With its compact size and sweet price, we really recommend anyone who is on the lookout for a Rotary pedal to check it out.

This Is So Much More Than A Boost Treble boosters don't do themselves any favours with their name, these little boxes of joy create some of the greatest driven tones of all time and the greatest of these is Brian May of Queen's tone!It's actually illegal in all countries to plug into one of these and not play Queen riffs ... you have been warned!The shape of Thirty7 FX pedal really stands out, as does the light gold/brass colour. This pedal has a nice little trick up its sleeve as the 3 way toggle allows you to choose between 3 levels of bass giving you 3 unique Treble Booster tones in one great pedal! 

It's a BIG Pedal In a tiny Enclosure Which is exactly as its name suggests! The BIG pedal in question of course is the Colorsound One Knob Fuzz which is bigger than your face! That was a pedal from the 60's which sounded great and whose enclosure was mostly empty space. Now with the benefit of smaller components and enclosures, Thirty7 fx has managed to fit all that glory into the tiniest package available but it still sounds just as glorious!  Just turn that knob until the fuzz is perfect for you!

Feel the response and attack of your rig... The Thorndal Duane ’69 is a two in one pedal. Left switch is a boost - clear and transparent. Dial it back to get a minus boost or crank it to get an amp-like boost. Right switch is the overdrive - extremely organic and dynamic. What make the Duane ’69 dynamic and versatile are the Tone, Voice and Input controls. Tone - Treble cut. Dial it clockwise to cut the treble.Voice - Bass cut. Dial it clockwise to cut the bass.Input - Volume & low-mid regulator. Use it to match the Duane ’69 to the pickups you use on your guitar. It is a brilliant knob, we loved it. Gregor Olbrich is the mind behind Thorndal. The guitar builder was desiring a boost/overdrive that alters your core tone as little as possible.  We think it’s mission accomplished!Little advice: The Duane ’69 operates on battery or on regulated 9-18 Volt adapter. Thorndal recommends to feed it with 12 Volt for maximum satisfaction, which is how the TonePedia demos were recorded.

More than just a fuzz? Thorpy FX wanted to make a fuzz and like many companies this was one of the first effects they created. However the similarities with run of the mill fuzzes ends there, whereas many pedal builders would tweak a simple circuit to test interest Thorpy went in another direction. For instance the bespoke casing is designed for ease of use, reduction of knocking controls, durability and the striking unique design. Here Thorpy was inspired by the way Boss pedals had all these features and always stood out on a pedalboard. That said no one has ever said that a Thorpy FX pedal looks like anything else, many years in military design gave Major Adrian Thorpe the skills needed to design things his own way. The pedal itself is often referred to as based on a Triangle big Muff and though true this is only half the story, as happens occasionally in gear circles a particular guitar/amp or pedal will do the rounds cited as "the best XXX we've ever played". The greatest examples of these are Peter Green's Les Paul! There so happened to be an EXH Triangle Big Muff which people had been citing as the best they'd ever played. It's well known that not all are the same, some in fact are utter dogs, but this particular example was the real deal and so Thorpy FX hunted down this holy grail of triangle muffs and tried it for himself. So blown away by the pedal were the Thorpy team that they indeed designed the Fallout cloud on that very specific pedal. But a direct clone would never suit the likes of Thorpy FX and so each component was chosen for its fidelity and reliability (not to mention sourceability for creating consistent sounding units over a long time) Burr Brown and panasonic components were used over cheaper potentially problematic alternatives. The attention to detail resulted in an extremely low noise floor when the pedal is turned on and you're not playing and the ability to reduce the gain from your guitars volume. The tone control from the original was scrapped in favour of separate Bass and Treble pots and the gain range was increased to give not just more gain but a more usable spread throughout the control as you can hear for yourself on the Tonepedia interactive demo. This pedal is a firm favourite of thousands and can be seen regularly on peoples pedalboards all over the world. 

Light weight overdrive. The Tone City Bad Horse is a light to mid gain analog overdrive which is nice on its own but really shines in combination with an already overdriven amplifier. That is why the Gain knob is designed to really open up north of 12 O'Clock. The pedal is based on the infamous Klon Centaur pedal and while it does not sound like a Klon, it is by itself a sweet mini pedal effect at a killer price. We like how it behaves with single coils the most, but thanks to a pretty wide eq range, the Tone City Bad Horse works with pretty much any pickup type. As with all Tone City mini pedals, the Bad Horse does not take batteries.

Small and portable sweet little Phaser. The Tone City Summer Orange delivers warm and authentic phaser tones which fit a variety of playing styles. It is a dead simple pedal effect, Feedback, Rate and Depth knobs controls will get you what you need and it's mini casing will fit to the smallest of boards. Remember that like all Tone City mini pedals, the Orange Summer does not take batteries. Tone City says that it is based on an infamous Orange Phased pedal, we believe it is no other than the MXR Phase 90.

Part analog, part digital, all mini. The Tone City Tape Machine Delay is s Hybrid, mini delay pedal. While the dry signal is analog, the delay part is managed by a digital circuit. This allows Tone City to keep your base tone authentic yet offer the vast delay options that only digital circuits can offer. The Tape Machine Delay has a simple 3 knob layout, it offers up to 600ms delay time and all in all a quite versatile pedal. A Stereo output would have been a great addition but hey, for such a killer price we have no complaints.

One of the best Fuzz pedals we personally have heard! Every man to his taste, so perhaps ours does not resemble to yours but from the hundreds (or thousands?) Fuzz pedals we have heard in our lives, the Top Gear Fuzz stands out. There is something about the organic sound of this pedal that simply speaks to us, and the subtleness of the Boost knob which offers a great array of gain levels. The Top Gear Fuzz is built after the infamous Dallas Arbiter Fuzz Face (we've got some of these on the website too), it uses BC184C silicon transistors and powered by a 9V battery. Unfortunately the company shut down long time ago so your only address for one is the second hand market. It amazes us how these simple analog circuits that shaped the sound of Rock still stay relevant today. Check out the Top Gear Fuzz and be sure to compare it to other iconic Fuzz pedals from the same era like the Dallas-Arbiter and Crest Audio Fuzz Faces, and the Colorsound Supa Tonebender.

One of the sweetest sounding amps ever dreamed up! The Tone Amp Doctor's Brownface 20 is them paying homage to the Brownface and Blonde Fender amps made for a short time between 1958-63. These had slightly more power than the others in the range which allowed for higher clean head room. Built in harmonic Tremolo has been widely regarded as the best ever created on the original amps and as this is a very very close design you can expect the very best from these amps too. The two channels shared the same tone pot as in the originals however unlike the originals you are able to obtain one of these with relative ease. Also if you're feeling brave and are handy with a soldering iron then these are available on kit form. Let us know which Tube Amp Doctor amp is your favourite.

For the guitar as well as the harp. The small 6 watt Tube Amp Doctor Tweed One-6 is a lovely amp based on the legendary Princeton Tweed 5F2 by Fender. The 5F2 class A amp brought a new dimension of sound to the 1950's thanks to its sweet tone. A somewhat secret of the pros is using these small amplifiers in the studio, driving them hot to get fat and juicy tones. Therefore the misconception that small amps are only good for the bedroom has no place here.The Tweed One-6 is built to Tube Amp Doctor standards. It is a magnificent amplifier, it uses grand stack output transformer which is much bigger than the original ones found in vintage Fender Princeton Tweeds. This change allows you to work easily with 4,8 and 16 Ohm cabs but not only. The biggest advantage is in the tone, much more headroom and bass definition with no compromise on the original tone.The Tube Amp Doctor Tweed One-6 is available as a finished amplifier or as a kit project. while it is not a beginners project, if you do have some experience in the field, we highly recommend the kit as it is fun to build with an awesome tone for an outcome.

Retro 'Verbs of the Deluxe KindThe Classic Deluxe Reverb amps of years gone are what many people hear in their head when thinking about reverb. With this amp TAD have taken the pedigree extremely seriously, the amp sits at the pre CBS 22 Watts with a tube rectifier. These amps utilise point to point hand soldered circuits with all the originals controls present and correct. The tube driven reverb is the sound of generations and what this amp is best known for, after all it's in the name. The vibrato (tremolo vintage correctly labelled wrong) circuit is also beautiful to play going from simple movement all the way up to rotary like sounds. Crank this beauty up to get real tube overdrive, be careful though as it will get loud!The 12" Jensen LJEC12Q-8 speaker is perfectly matched to provide the tones of the Jensen's found in the original amps. If you're so inclined these amps can be bought in kit form for you to build at home yourself.

Stomping on this box will be expensive You see, this isn't a real pedal so stomping on this one may require a new laptop. But wait before we judge this "NEW upstart tech" lets look at the real heritage here!Universal Audio was set up by Bill Putnam Sr. way back in 1958 and is now run by his two sons.Bill was responsible for the following:1176 Compressor - LA-2A Compressor - The FIRST artificial reverb - Stereophonic recording (alongside Les Paul) - The Legendary 610 recording console (Van Halen, Sinatra, Beach Boys) - The Vocal Recording Booth - Multiband Audio EQ ... and he worked on many many songs you likely know and love.Today the company employs over 200 staff and continue to be on the top of the audio innovation game, this is why TonePedia are proud to have this as our very first Plugin product. UAD never forgot their routes and even today still produce hand built vintage spec gear, but they also make possibly the most realistic plug ins on the market so lets start with the most famous vintage pedal of all ... the good old 808. Compare it only on TonePedia to the real thing and tell us, how close is it?

Modulation Machine When UAD decided to enter the pedal world they did it in a big way, this comprised of releasing three effect specific multi effect pedals putting UAD directly is competition with industry giants BOSS and Strymon. Lets face it, if anyone has the resources, experience and reputation of amazing tones enough to challenge these companies then its UAD! Known across the entire world for the highest quality studio equipment and plugins its honestly a surprise this didn't happen earlier. The Astra is the Modulation offering and as with each of the three pedals it both offers a lot while keeping the user experience simple allowing more time for music to be made. This pedal has three main modulation types based on Chorus, Flanger & Tremolo and in turn each of these has 3 variants.These effects have surprised us hugely as they're some of the best sounding pedals we've ever heard!

Twinkle Twinkle Little DelayWhen UAD decided to enter the pedal world they did it in a big way, this comprised of releasing three effect specific multi effect pedals putting UAD directly is competition with industry giants BOSS and Strymon. Lets face it, if anyone has the resources, experience and reputation of amazing tones enough to challenge these companies then its UAD! Known across the entire world for the highest quality studio equipment and plugins its honestly a surprise this didn't happen earlier. The Starlight is the delay offering and as with each of the three pedals it both offers a lot while keeping the user experience simple allowing more time for music to be made. This pedal has three main delay types based on tap, analog and digital delays and in turn each of these has 3 variants.These effects have surprised us hugely as they're some of the best sounding pedals we've ever heard!

Sparkling CleanIts well known that this is based on a vintage 808 tubescreamer. What is different about the Sparkle drive is how it attempts to save you a few thousand (insert your currency here). You see clean blends were normally reserved for bass players and have appeared on bass pedals for AGES but if a guitarist wanted this type of effect ... well we'd need to buy a splitter and a separate second amp which we'd have dedicated to that wet/dry set-up. The Sparkle drive attempts this by allowing you to dial in that clean amp tone to your own taste. You even have the option of having the clean dialled all the way in and simply using the Sparkle Drive as a clean boost. 

Its An Experience Octavia style effects aren't everyone's cup of tea, they are often harsh sounding and can be unintuitive to those unfamiliar with the effect. If you can get over these hurdles a whole lotta fun is yours to be had!Top Tips:-Play it in a mix, the upper octave becomes your friend by cutting through without deafening everyone.-Play above the 7th fret on the highest two strings! This is where octave effects really come alive.The Proctavia by Voodoo Lab is a replication of the Tycobrahe Sound Company’s Octavia, one of the rarest and most sought after octavia pedals of all time. What's really cool is Voodoo Lab haven't simply made a similar sounding pedal, they're sourced the exact same components as the original ... Can't get better than that! 

Giggity, Giggity, Goo! Voodoo lab's pedal names are either very straight forward such as the "Tremolo" or as funny as can be. The Giggity's name does nothing to explain what this pedal is/does yet it instant makes us want one. One of our favourite types of pedals are those which allow you to shape your tone in interesting ways and though most players understand how different EQ frequencies can add/subtract elements of "airiness", "boxyness" and so on, most players don't know which frequencies are specifically responsible for those sounds.The Giggity overcomes this by simplifying the choices for us! On this impressive pre-amp boost we have "Body" which covers the bass to lower mids, "Air" which is normally around 8Khz> and makes things feel lightly brighter. The we have a bright to dark 4 way selector ... all very straight forward. Increasing the loudness control pushes more signal through the aforementioned tone controls causing them to react quicker all the way upto break up giving a customisable overdrive tone. This is one extremely usable pedal capable of improving anyone's tone or creating the perfect lead boost channel. 

Gain, gain and more gain The Valvenergy range from VOX is a collection of 4 pedals based on four famous amp types, American low gain, British high gain, American very high and Vox ... well they didn't need to beat around the bush on that last one. The cutting edge gives us modern high gain American tones similar to the likes of rectifier amps, these pedals aren't any ordinary Amp in A Box (AIAB) pedals though for several different reasons. Chiefly among these factors is the Nu-Tube which we've seen in some Vox amps over past couple of years and can already be found on TonePedia in the Ibanez Nu-Tubescreamer. The Nu-Tube is a modern approximation of a vacuum tube (or Valve in the UK) yet in a much smaller surface mounted component and whats more ... it sounds great! Each of these pedals create their tones via the Nu-Tube's giving us a very organic feel from the pedals. Each pedal features an OLED screen showing the oscilloscope waveform read of the tones being produced, nice touch as it looks great. Vox have added unique ability to link these pedals up via a small trs cable which allows them to turn each other on/off when you wish to switch between the pedals, of course if you would like to stack them that's perfectly possible too. The Icing on the cake is each pedal has 3 modes, standard stomp box mode, pre amp mode which you can run straight into the power amp of your beloved amplifier and lastly "cab" which allows you to use the pedals in place of your amplifier. This last feature is great for recording and allows us to have 4 classic sounding amps for less than the price of a single full blown

Vox in a Box The Valvenergy range from VOX is a collection of 4 pedals based on four famous amp types, American low gain, British high gain, American very high and Vox ... well they didn't need to beat around the bush on that last one. The mystic Edge gives us all of the classic chime we expect from classic AC30's, its not surprising the Vox nailed that Vox tone, these pedals aren't any ordinary Amp in A Box (AIAB) pedals though for several different reasons. Chiefly among these factors is the Nu-Tube which we've seen in some Vox amps over past couple of years and can already be found on TonePedia in the Ibanez Nu-Tubescreamer. The Nu-Tube is a modern approximation of a vacuum tube (or Valve in the UK) yet in a much smaller surface mounted component and whats more ... it sounds great! Each of these pedals create their tones via the Nu-Tube's giving us a very organic feel from the pedals. Each pedal features an OLED screen showing the oscilloscope waveform read of the tones being produced, nice touch as it looks great. Vox have added unique ability to link these pedals up via a small trs cable which allows them to turn each other on/off when you wish to switch between the pedals, of course if you would like to stack them that's perfectly possible too. The Icing on the cake is each pedal has 3 modes, standard stomp box mode, pre amp mode which you can run straight into the power amp of your beloved amplifier and lastly "cab" which allows you to use the pedals in place of your amplifier. This last feature is great for recording and allows us to have 4 classic sounding amps for less than the price of a single full blown

Straight In Back in the 60's everything everyone made was either a fuzz or a Treble Booster. Vox released a range of four effects which the player would plug directly into the guitar/mic etc.The Distortion - Treble - Bass and the Mic Boosters were very unique (and still are), cheaper to make than the pedals and featured a true bypass switch.This distortion unit is really a early Fuzz Face/Tone Bender variant in disguise and has become extremely sought after by collectors therefore they're hard to find and cost a fortune when you do find one. This is why we like to bring you the hard to find and mega expensive vintage pedals for you to experience without selling off a kidney or two.  The Vox Showroom site has this to say about the pedal " The #153 JMI Vox Distortion Booster "fuzz tone" was also introduced in the November 1965 JMI Vox price list. The steel case sported a dark red painted finish. The booster utilized a battery operated gain circuit driven by two silicon transistors and featured a three-pole power switch that offered true signal bypass. The UK retail price in 1965 was 4£ 4s. The #153 Distortion Booster provided a less costly alternative to the germanium transistor powered JMI Vox "Tone Bender" fuzz tone."

More than a one-trick pony... The Walrus Audio Voyager can serve as a treble shaper, clean boost or as an overdrive. All of this with a great amount of definition and a broad dynamic range. Like many overdrive pedals its set of controls is reduced to three knobs. A volume knob to match the level or to drive the preamp a little more, a tone control to shape predominantly the high frequencies and a gain to go from crunch to lead.Apart from sounding great on its own, when combined with other pedals it can be used to shape the other pedals’ sound in a superb and efficient way as a boos or a tone shaper. The build quality is top-notch and it is true-bypass.A bunch of good reasons to launch this voyage.

Me JulieWalrus have a formula for their pedal types, recent drive pedals all have a set design and the same applies to their modulation pedals however they are not the same as the drives. The three modulations in mind are the phenomenally popular Lillian Phaser, the Polychrome Flanger and this, the V2 Julia Chorus .The Julia is a true bypass, all analog great sounding chorus with Rate, Depth, Lag, and D-C-V blend knob which lets you blend between dry, chorus and vibrato sounds allowing for a wide range of control over the intensity and type of effect. All the Walrus pedals hold a wealth of great tones within a tiny package and this was the pedal which bought that to the masses in a big way!

Aunty Lilly Walrus have a formula for their pedal types, recent drive pedals all have a set design and the same applies to their modulation pedals however they are not the same as the drives. The three modulations in mind are the phenomenally popular Julia Chorus, the Polychrome Flanger and this, the Lillian Phaser.The Lillian is a true bypass, all analog, multi-stage Phaser with Rate, Width, Feedback, and D-P-V blend knob which lets you blend between dry, phase shifted, and vibrato sounds allowing for a wide range of control over the intensity and type of effect. All the Walrus pedals hold a wealth of great tones within a tiny package and this is no exception to that rule!

Mr Tumnus This is the tiny pedal which dethroned a giant. The Klon is famously a great "transparent" drive which is so rare they go for huge figures on the second-hand market. Yet Brian Wampler made his "klone" less transparent by adding extra chewiness (that tone you feel at the back of your teeth) and in blindfold tests this has proven to be the best sounding of the all the Klones on the market. The best way for you to decide this for yourself is to compare it against all the other Klones we have on TonePedia which include an original Klon KTR!

Mischief Managed The term for multiple rats isn't a herd, nor a flock but instead a Mischief and that seems very appropriate when regarding the Ratsbane as it combines 6 tonal variations from possible the greatest distortion to emerge from the 1980's.The Ratsbane manages this all in a tidy mini pedal enclosure which packs so much power we're afraid it may rupture space and time. The Gain switch offers three distinct choices, the middle is “stock” gain, the left position offers a firm, yet smooth boost in gain, whereas the right delivers an insane level of creamy distortion. The Voice switch subtly alters the compression and clipping, tightening up the distortion to be more manageable with greater levels of gain, whilerolling back some of the fuzzy qualities, delivering a modern, high gain distortion.Always using only the highest grade materials as standard, Wampler went one further this time but allowing you to swap the chip ... why? Simply put, the LM308 chip is regarded by many enthusiasts to give the best sound for this style of distortion BUT they're super rare. Instead of Wampler providing a limited run pedal they have provided an amazing sounding pedal with the option to add a different chip if you can find one. The truth is it sounds just as good as the classic pedals we have on TonePedia, please go ahead and compare them yourselves. 

Swoll Jeorge Tripps' is a (way) huge name within pedal builder circles, his approach towards pedal designs plus his great guitar playing allows him to find the tones he desires for his own use. So when it came time for him to design a big muff style pedal he designed it to work in a number of situations which is why it's one of the more popular modern fuzzes on the market today.With 5 easy access knobs plus 2 internal trim pots, it's unusual to hear two of these set in the same way. The Scoop control is really a mid knob which has the effect of changing how present you are in a mix, scoop to sound further away and push to sound front and centre for a lead tone for example. Crunch changes the clipping type and sustain increases/decreases how much clipping there is. Compare this to other Big Muff style pedals to see just how much more Swoll this beast of a pedal really is. 

Add some muscle to your bass tone. The Xotic Bass BB Preamp is the bass version of Xotic's infamous distortion / booster guitar pedal; the BB Preamp. Like it's sibling, the Bass BB Preamp has an easy four knob design and simple to use. the Gain, Treble, Bass and volume will get you where you want, they also react to every small tweak which means you can pretty much set your sound spot on.There is no question about how sturdy and handy the Xotic Bass BB Preamp is, it's built like a tank and the fact it is such a common pedal on bassists' pedal boards speaks for itself. Also worth mentioning, it is fully analog and has a true bypass on/off switch.Xotic promote the Bass BB Preamp using the sentence "add some muscle to your bass tone" - we pretty much agree.

The Unsung Hero Guitar heroes we commonly know of from the 60s 70s & 80s didn't know much about "True Bypass" and it was often quite the opposite since many pedals & effects had built-in buffers and preamps which gave the legendary tones we hear on records their extra bit of "something". One such effect was the Echoplex tape delay, released in 1959 this was used on many popular songs over the years. It had a preamp built-in that worked even when the delay wasn't being used as a delay and it gave a great boost to the tones of people like Jimmy Page and Eddie Van-Halen. The Xotic EP-boost is simply put, that part of the echoplex which made the boost in a MUCH smaller enclosure. Some people will use this pedal as a boost for their lead tones but many users have this always running as everything sounds better with it on all the time!

The improved bestseller. The Yamaha FG820 is an improved version of Yamaha's bestseller, the FG800. It provides great playability at an unbelievably low price which makes it a really good bargain. You will be surprised to know that the FG820 actually has a solid Sitka Spruce top which is not a standard in its price range and not only that, it also sport Mahogany back and sides unlike the FG800 that uses Nato. Go Try it on our player and you'll hear why we and so many guitar players out there like it so much. Compare the Yamaha FG800 and FG820 to find out which one fits your needs and budget better, with so many around the world liking these two guitars so much, you can not go wrong with your pick.

TRBX300 is built around a simple principle – your performance. The perfectly balanced, ultra-comfortable solid mahogany body provides the optimum tonal foundation while the Performance EQ active circuitry gives instant access to perfectly dialed-in stage-ready tones coupled with the expressive control you need.

What a great bass guitar for that budget. The Yamaha TRBX 174 is a proof that you do not have to break the bank for a decent bass!It is a Yamaha and it is a TRBX, which means it is built to last and deliver strength and power yet comfortable to play and quite versatile, too.Priced at around 200$ it is really a no brainer.