Products

A Transparent modified delay based off of the PT2399 IC chip.  The Echopark EPD-1 is a digitally generated delay, with a true bypass and analog signal path. Modeled after the vintage  Echoplex Tape Delay, translated into MS (Milliseconds - .001 of a second). Looking down at the EPD-1. The right side pointer knob (MS) controls the Echo Delay, and is labeled with minimum (30MS), and Maximum (600MS). The graduation bar on the bottom is a key that shows you the graduation percentage of THD (total harmonic distortion) which becomes noticeable beyond  350MS, or beyond 1% THD, and graduates up to 3.5 % at 600MS. This is helpful in studio recording situations. The REP Knob on the left controls the Repeat Generation on the delay. MIX controls clean/delay saturation. 2.1mm 9VDC power in  - center  (9V internal Battery Option). Fully powder coated aluminum enclosure. HAND MADE IN USA.

The FQ12 Dual Range Bastard is equipped with individual true bypass switches for both boost and frequency selections.A discreet 6 position notched filter as designed in the early 50's. Custom wound inductor with the ability to select either 50% or 100% of the coil. allowing 12 separate tonal bandwidths to choose from.The Boost control can be accessed independently. Settings range from unity or clean boost to a powerful pre-amp style drive with no original tone loss. Harmonic richness. This unit allows the player access to do anything from a Revolver-era Vox tone to a Brian May tone and all points in between. The FQ12 creates a new palate of focused frequencies enabling the player to find and create within the confines of a multi-instrument ensemble, when boosting or adding more effect to your signal path is not working. Use for chord, single note and arpeggiated passages within a large group of instruments sharing similar frequencies or add actual tonal dimensions to your to rig without compromising your original Tone. Made in America.

A vintage spec Variatone on Steroids..!!Anothier fine innovation from Echopark. Create a plethora of tones, and give yourself the ability to filter out unwanted frequencies with a 5 position, on-board notch filter, then expand, boost, and distort from there, with 2 independent stacked Analog overdrives. This was originally a variant of our FQ-12, and custom pedal that I made for  Dweezil Zappa.  Notch filter (Front) is passive, and doesn't require power to work. Dial in 5 different analog tones ranging from .001uf to .1uf...use as a filter as well with other pedals that may be a little noisy. Channel 1 is a One Transistor clean boost, that has an overdrive control (front Right), that allows you to get clean boost, or OD, and everything in-between. Channel 2 is a separate One Transistor OD/Analog Fuzz. Stacked the produce an amazing, low noise distortion. With a Master output volume in the center, you can control the final Vol output, and mix from there. The Master Vol only works with Channel 2, or  combined channels on. Allowing you to switch from Distortion to Clean/OD by deselecting channel 2. Basically this is 3 invaluable pedals in one...all combined, it will blow your mind. Having an on-board Notch filter not only changes tones, but allows the user the ability to filter out the undesired squiels from high noise, stacked fuzz’s.  A must have for studio recording. You will wonder how you lived without this unit.. 

Pushing the envelope of distortion, the Echopark Nightmare is a combination of Clean Boost, Fuzz, Distortion, and Octave Down, sonically tuned to blend flawlessly together to produce amazing sustain for solos, bends, and fills. Looking down at the pedal. The top left knob is your Clean Boost (stand alone)/Sustain (when used with Hyper Distortion). The right top knob is a secondary Fuzz/Boost. The bottom center knob is the Hyper Distortion. Right footswitch is Sustain/Fuzz, Left footswitch is Hyper Distortion (center Knob). The Hyper Distortion works fully interactive with the controls on your guitar, as if they are connected. You will discover that the “fluctuating” pink LED responds to all variations of sounds that the unit produces, and substantially intensifies with the sustain, and auxiliary fuzz boost. The pedal is perfect for rendering your audience a snarling, yet controllable solo they will still be hearing for days to come..Custom billet aluminum knobs, powder coated/engraved chassis 9V DC, Center - , 2.1mm power jack, No Battery Terminal Inside, DC only, HAND MADE IN USA

A return to the fundamental elements of recording great guitar tones in the studio. Ribbon mic's love these low watt tone machines as proven by the tone's we love from the 50's, 60's and 70's. Often you just need a simple vehicle to get from A to B in a session - something that is part of the desk, something that inspires both creative freedom as needed or just plowing through recording tasks...Bullet proof and subtle in every way you need. Type: Tube  Number of Channels: 1  Total Power: 5w Speaker Size: 1 x 8"  Speaker: Jensen C8R Preamp Tubes: 1 x 12AX7, Tung-Sol Power Tubes: 1 x 6V6GT, JJ Rectifier Tube: 1 x 5AR4, JJ  Tremolo: No EQ: Passive tone control  Inputs: 2 x 1/4" (High/Low Treble) Outputs: 1 x 1/4” speaker out, 1 x 1/4” extension out, 1 x 1/4" line out Material: Sweet pine, walnut, maple Power Source: Fixed AC cable  Height: 10.75" Width: 17" Depth: 8.5" Weight: 11 lbs. 

The Model feT is a transistor-based preamplifier designed around the legendary Sunn Model T amplifier. Those who have played the original know that while it excels at heavy tones when pushed, it is far more than just an amp for stoner rock and doom metal. In fact, on its own it is a fantastic mid-gain amplifier with a tone that is dark, yet clear and present—making it an exceptional pedal platform. Most famous Model T tones come from putting a distortion or fuzz in front of the amp. Thus, the Model feT is designed to sound good on its own and with other pedals stacked in front. This pedal goes beyond the standard triode-to-JFET emulation approach with the inclusion of an emulated power amp. This broadens the range of gain and—in the true spirit of the original amp—allows for massive headroom and volume output. This greatly expands its capabilities beyond a typical drive pedal: the Model feT can be used directly into a power amp, cab simulation, or DAW.

The Elliott Guitars Thumper Amplifier combines a dynamic tweed-voiced front end paired with a full and toneful output section.  Featuring a Single Channel with individual Volume and Tone Controls, the amp allows the true tonal character of your guitar to shine through.  At lower volumes the amp gives you a clean touch sensitive feel.  At higher volumes the amp delivers a harmonic rich breakup that still allows the low end to stay nice and tight.  Whether you are boosting the front end with your favorite pedals or just plugging straight in, this little amp really delivers.  The tone of the amp is nicely rounded out by a 12” Celestion Alnico Gold speaker in a compact all pine cabinet.  All Elliott Amplifiers are hand-wired and built in the USA using the best components available.   Single Chanel 1x12 14 Watt Celestion Alnico Gold 12” 2 12AX7 Pre-amp Tubes 2 Apex Matched 6V6 Power Tubes USA Built Power and Output Transformers ¾ inch Yellow Pine Construction 100% Hand-Wired and Built in the USA 18” x 9” x 18” 34 lbs.

Imparting a dark and tape-like quality to your sound, this analogue delay offers a rich and distinct character for you to wallow in luxury, self-righteousness and filth.   Using the tone and feedback controls, you can shape your repeats to be much more than simple reproductions of the input. Play right on the threshold of feedback, which you can mold as a low thundering growl or screeching wail, or let your echo slowly die out as the dynamic output filter gets darker every repeat. A random delay time modulation adds a true tape feel to the delay, like a reel-to-reel motor spinning not quite perfectly. Full CV capabilities allow you to control delay time and/or feedback with any external source, like an expression pedal.  

Every operation needs an accountant, and your signal chain is no exception. This little guy will fit right in, no questions asked. Call upon his services to crunch numbers, cook your books and calculate ratios in all confidence that your shit will remain tight. We’re talking about a mostly utilitarian relationship here, but one of trust as well. Whether you enjoy slight, nuanced dynamics control or you just want to squeeze your signal into one dimension, you'll find a use for The Accountant. Featuring all analogue, JFET feedback compression, The Accountant works well with all signal sources; guitars, bass, vocals, synths, even whole mixes. A simple control interface allows you to change the threshold, compression ratio and makeup gain.

JAGUARS I personally use a Jag, 1994 CIJ outfitted with a Mastery Bridge and Curtis Novak Pickups (my favorite for Jags next to the original 1964/65 stock). For my own personal preference, I am using a corrected 11-50 set, 11-15-19-31-40-50 (sometimes 52 for fun). Always consider scale lengths when choosing the right set for you and your guitar. My other recommendations for Jaguars: 11-21w-52, the lightest strings Leo Fender ever recommended for the Jag featuring a wound G. My set is 11-22w-52 10HeavyBottoms 10-48, This is the only set of 10s I would use for a Jaguar, considering the 24" scale length, They actually feel much lighter than regular 10s sets. 10-14-18-27-37.5-48 12-20p-52+ is a great option. Pretty much anything 11 and above is prime for Jaguars. 13-22p-58 OFFSETS So you don't own a Jaguar or Jazzmaster? But you have a floating tremolo/offset guitar? There are guitar builders out there like Paul Rhoney, Nystrum, Scero, David Ayers,Echopark, Elliott Guitars NC,Creston, and many more who are building amazing guitars building upon the unique tonal and physical features of offsets with floating tremolos. And it goes without saying that Mastery Bridge is the choice for so many builders, players and techs. I recommend generally 11-50, Super10s-46, and 10 -48 HeavyBottoms, and 12-52.

JAZZMASTER 11-50 (JM50), 11-14-18-29-40-50 the signature set, the best of the lightest sets for 25.5" scale offsets JM46!! The latest development is that I finally made a true JM46 set that is an analog of the JM50 in terms of tension profile, weight distribution, core tension. The trebles remain 10-13-17 however the changes in the composition of the wound bass strings help the plain trebles feel a little snappier and even. The new D (#4) string is now .027” with similar tension to the .026 but with a larger wrap wire to provide some needed weight and downward pressure on the mid section of the bridge. The other change is the E (#6) string which features a new formulation similar to the low E on the JM50 set. The 46 has more tension which also helps balance out the high E and B strings (it just does). Still slinky and punchy, just a little snappier. the 46 is just 46-ier. 11-22w-52, something old school with the wound G 12-20p-52+, I got a tip that Nels Cline (not endorsed by GTSco) uses 12-52 so i devised a set, it is the analog of the 11-50 set so it is perfectly balanced for a Jazzmaster 13-22p-56, Ok, now we are headed into Mason Country-Mason Stoops, that is. GTSco Artist, Mason Stoops hung out with fellow GTSco Artist, Josh Smith, and this is the result, a tiny bit lighter in the G, by .003 and trust me, that is a big difference.

Introducing the NíquelPuro line of Electric Guitar Strings by the Gabriel Tenorio String Co. These are still constructed and formulated like the original GTSco line but feature the highest quality pure nickel wrap available. (original GTSco strings already feature the highest amount of nickel available in nickel plated steel)   NíquelPuro is an evolution in my string making. My goal has always been to make the best sounding and feeling string. I wasn’t interested in pure nickel at first. I felt that all the pure nickel I had ever seen in the market didn’t feel comfortable and that it was a gimmick to improve the signal strength of a hex core string. Many folks felt that nickel was warmer, others swore that nickel was louder or brighter. I wasn’t going to make pure nickel if it meant making strings that didn’t feel right to me or if it meant appeasing a boutique “tone fetish.”   I had been testing nickel out for about a year and had come to enjoy how durable and strong pure nickel is to nickel plated steel. I felt this right away while making a batch of D strings which feature a very fine wrap wire. The tone once the string was installed was rich and full. A very good strong tone that had even more body than the NPS.   After running more tests, I’ve decided to bring these to market. Like with my own personal strings I used on tour in my younger days, it took me a while to feel comfortable and confident in selling these to the public. I just want to make a good string that is worth your hard-earned gig money.   I am always surprised at how long the strings last for a majority of the professional musicians who put them to the test show after show, session after session. I know that the NíquelPuro will also stand up to that test.   ·      Pure Nickel is stronger and longer lasting than nickel plated steel wrap wire ·      Pure Nickel has stronger magnetic properties than nickel plated steel, thus producing a more output and improving signal strength ·      NíquelPuro strings by GTSco feature the same round core construction and custom twist innovations of the original line ·      GTSco strings in general, use more “Tone Metal” per wound string than most brands   Some more background and thoughts on the matter….  Nickel is a very vague term thrown around the gear industry. Almost every single wound electric guitar string employs nickel. There are varying grades of nickel plated steel and pure nickel wrap wire in use in the modern string industry. Nickel is ferromagnetic, that is important because it makes it possible to get more output from an electric guitar. It is a widely known characteristic of this metal. Steel is not magnetic on its own therefore other metals are added to different kinds of steel alloys to add magnetic properties. Without it, strings across the board would not perform as well. We know already that different metal wraps produce their own signature sound. That is also true of the NíquelPuro line. For lack of a better term, I am going to call wrap metal “Tone Metal.” By virtue of my construction and formulation techniques, I offer more tone metal in my products as a rule.  Cost cutting techniques in the industry have compromised the quality of metal some string companies use and even guided formulations focused on using thicker cores to save on expensive wrap wire. This can make for an opaque, albeit durable, string. I don’t believe this approach serves the instrument, the player, nor the tone, well.   NíquelPuro Electric Guitar Strings are made to help musicians play better, feel confident, and rest assured that they are getting the most from their instrument. You shouldn’t have to beat your instrument or destroy your hands to get a good sound, the strings just need to work for you.   That’s just how I feel about it. OFFSETS So you don't own a Jaguar or Jazzmaster? But you have a floating tremolo/offset guitar? There are guitar builders out there like Paul Rhoney, Nystrum, Scero, David Ayers,Echopark, Elliott Guitars NC,Creston, and many more who are building amazing guitars building upon the unique tonal and physical features of offsets with floating tremolos. And it goes without saying that Mastery Bridge is the choice for so many builders, players and techs.  

11-50 (JM50), 11-14-18-29-40-50 the signature set, the best of the lightest sets for 25.5" scale offsets ntroducing the NíquelPuro line of Electric Guitar Strings by the Gabriel Tenorio String Co. These are still constructed and formulated like the original GTSco line but feature the highest quality pure nickel wrap available. (original GTSco strings already feature the highest amount of nickel available in nickel plated steel)   NíquelPuro is an evolution in my string making. My goal has always been to make the best sounding and feeling string. I wasn’t interested in pure nickel at first. I felt that all the pure nickel I had ever seen in the market didn’t feel comfortable and that it was a gimmick to improve the signal strength of a hex core string. Many folks felt that nickel was warmer, others swore that nickel was louder or brighter. I wasn’t going to make pure nickel if it meant making strings that didn’t feel right to me or if it meant appeasing a boutique “tone fetish.”   I had been testing nickel out for about a year and had come to enjoy how durable and strong pure nickel is to nickel plated steel. I felt this right away while making a batch of D strings which feature a very fine wrap wire. The tone once the string was installed was rich and full. A very good strong tone that had even more body than the NPS.   After running more tests, I’ve decided to bring these to market. Like with my own personal strings I used on tour in my younger days, it took me a while to feel comfortable and confident in selling these to the public. I just want to make a good string that is worth your hard-earned gig money.   I am always surprised at how long the strings last for a majority of the professional musicians who put them to the test show after show, session after session. I know that the NíquelPuro will also stand up to that test.   ·      Pure Nickel is stronger and longer lasting than nickel plated steel wrap wire ·      Pure Nickel has stronger magnetic properties than nickel plated steel, thus producing a more output and improving signal strength ·      NíquelPuro strings by GTSco feature the same round core construction and custom twist innovations of the original line ·      GTSco strings in general, use more “Tone Metal” per wound string than most brands   Some more background and thoughts on the matter….  Nickel is a very vague term thrown around the gear industry. Almost every single wound electric guitar string employs nickel. There are varying grades of nickel plated steel and pure nickel wrap wire in use in the modern string industry. Nickel is ferromagnetic, that is important because it makes it possible to get more output from an electric guitar. It is a widely known characteristic of this metal. Steel is not magnetic on its own therefore other metals are added to different kinds of steel alloys to add magnetic properties. Without it, strings across the board would not perform as well. We know already that different metal wraps produce their own signature sound. That is also true of the NíquelPuro line. For lack of a better term, I am going to call wrap metal “Tone Metal.” By virtue of my construction and formulation techniques, I offer more tone metal in my products as a rule.  Cost cutting techniques in the industry have compromised the quality of metal some string companies use and even guided formulations focused on using thicker cores to save on expensive wrap wire. This can make for an opaque, albeit durable, string. I don’t believe this approach serves the instrument, the player, nor the tone, well.   NíquelPuro Electric Guitar Strings are made to help musicians play better, feel confident, and rest assured that they are getting the most from their instrument. You shouldn’t have to beat your instrument or destroy your hands to get a good sound, the strings just need to work for you.   That’s just how I feel about it.