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Spring reverb and bonus “room” reverb mode. Decay control to dampen or expand reverb. Retain your tone with all analog clean signal path. Trails option when bypassed Separate controls for the reverb and dry signal levels. Redesigned preamp for tube like dynamics and feel. Tone control for subtlety or in your face splash. By analyzing the design, sound and physics of real spring tanks we captured the nuances of tube driven spring reverb. Even something as innocuous as unplugging your guitar cable (kerplangagnangang)  sounds like real deal. A tone control allows you to dial in the perfect timbre. There is also an internal reverb send trimmer serving two purposes- 1. It allows you to turn down for hotter input signals. 2. It does essentially what the dwell control does on an outboard reverb tank. You can turn it up for a more dramatic effect or back it off for subtlety. Unlike a real spring tank the the decay knob allows you to dampen the springs for shorter reverb or bend the laws of physics resulting in long psychedelic resonating trails. The clean signal path is all analog. JFET amplifiers carryout the send and recovery of the reverb signal for even more tube like dynamics. The Super Spring Theory is equally at home in front of a clean or dirty amp. …But wait, There’s more! – Room Reverb There’s also that other reverb setting. ROOM. Don’t think of this as your typical subtle ambiance room reverb. That is certainly possible with the decay knob rolled back. The decay knob alters the dimensions from a broom closet to a cavern covered in ceramic tile with reverb trails over three minutes long. Like no other reverb pedal on earth. Every aspect of the Super Spring Theory was designed from the ground up. You won’t find a “reverb brick” inside. It’s not a datasheet design from someone else.  The Super Spring Theory uses our own DSP reverb algorithms that you can’t get anywhere else. More options In 2011 we set out to create the most realistic spring reverb simulation ever. The Spring Theory was born with authentic sound, feel and dynamics. Since then we’ve been taking notes for the next evolution. We listened and we know what you want. New features are packed in the same pint sized pedal. Now you can hear reverb tails when bypassed. Separate level controls for the dry and reverb sounds along with the new wide range tone control allow for subtle reverb to in your face salt water splash.

Gig Bag to go with our Vintage Guitars

• Body: Eastern Poplar• Neck: Hard Maple – Bolt On • Scale: 34"/864mm• Frets: 20• Neck Inlays: Pearloid Dot• Tuners: Wilkinson® WJBL200 • Bridge: Adjustable• Pickups: 1 Wilkinson® WBP • Hardware: Nickel• Controls: Volume/ Tone

Body: American Alder Neck: One Piece Hard maple – Bolt-on Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Black Dot Nut: 42mm Wilkaloid Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB intonatable Pickups: 2 Wilkinson® WJTD Alnico 2 Single Coils Scratchplate: White Single Ply Controls: 1 Volume/1 Tone/Custom Wired 5-Way Lever Switch

Body: American Alder Neck: Hard maple – Bolt-on Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Pearloid Dot Nut: 42mm Wilkaloid Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB intonatable Pickups: Wilkinson® Single Coil x 2 (N) WVTN Alnico (B) WVOB Alnico Scratchplate: White Single Ply Controls: 1 Volume/ 1 Tone/ 3-Way Lever

Body: Eastern Poplar Neck: Maple Fingerboard: Maple Scale: 25.5″/648mm Frets: 22 Tuners: Wilkinson® WJ55 Bridge: Wilkinson® WVCD Distressed Pickups: 3 Wilkinson® Single Coils WVS Scratchplate: White Hardware Color: Chrome Controls: Volume/Tone/5-way Toggle Switch

Body: Eastern Poplar Neck: Maple Fingerboard: Rosewood Scale: 25.5″/648mm Frets: 22 Tuners: Wilkinson® WJ55 Bridge: Wilkinson® WVCD Distressed Pickups: 3 Wilkinson® Single Coils WVS Scratchplate: Mint Hardware Color: Chrome Controls: Volume/Tone/5-way Toggle Switch

Body: American Alder Neck: One Piece Hard Maple – Bolt On Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Black Dot Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB Intonatable Pickups: 2 Wilkinson® Single Coils (N) WVTN  Alnico (B) WVTB Alnico Controls: 1 Volume/ 1 Tone/ 3-Way Lever

Body: American Alder Neck: One Piece Hard Maple – Bolt On Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Black Dot Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB Intonatable Pickups: 2 Wilkinson® Single Coils (N) WVTN  Alnico (B) WVTB Alnico Controls: 1 Volume/ 1 Tone/ 3-Way Lever

ULTRASHEER is a stereo reverb and vibrato combination inspired by the early digital studio effects units of the late 1970’s, capable of moving you from a lush warbled space to a shallow room through an intuitive and satisfyingly tactile interfaceThe REVERB algorithm is based on the plate reverb sounds of the classic Lexicon 224 from 1978. The digital processing is downsampled to 16 bits and follows the topology described in the Dattorro paper linked here. This mix of legacy digital processing with modern high quality hardware creates a retro lush sound that we love The VIBRATO is a smooth and transparent digital pitch shifter that preserves the full bandwidth of your input signal and does not darken the sound which is often found in the analog counterparts. Two modulation waveforms are available, “cycle” which is a sine wave for classic Leslie-speaker-type sounds and “random” which is a smoothed sample and hold waveform that creates pitch warbles similar to a warped vinyl or sun-baked cassette- 165mm x 140mm x 45mm- 1/4" mono jacks- Input impedance: 50kΩ- Output impedance: 1kΩ- Current draw: 180mA- Soft-touch foot switches- Buffered bypass- Housed in a single block of walnut, CNC routed, hand sanded & polished

PARAGRAPHS is an analog four-pole resonant low pass filter with an attack, decay (AD) envelope generator designed with focus on simplicity and flexibility The heart of the LOW PASS FILTER circuit is the AS3320 analog chip — a modern replica of the same component used in analog classics like the Sequential Prophet 5, Pro-One mono-synth, Elka Synthex, and the LinnDrum. Cutoff spans the full audio spectrum and resonance starts to self-oscillate at about seventy percent.The ENVELOPE GENERATOR offers modulations in an uncommonly wide range of frequencies — starting as low as 0.05 hz for slowly evolving 20 second long cycles, and reaching up to (and past) the audio threshold at 300 hz for a wave shaping effect similar to sounds found on west coast style synthesizers (“think Buchla”).Paragraphs accepts instrument and line level signals. Dedicated controls for input (drive) and output level make it easy to move between a crystal clear clean tone and and a clipping fuzz. A multi-color LED provides a visual representation of the signal level. Red indicates clipping. Orange flashes indicate the start of overload. Green indicates the presence of signal at or below the nominal level.Inputs for CONTROL VOLTAGE and MIDI are available to remotely trigger the envelope generator. This enables your Paragraphs to stay in rhythmic synchronization with external systems like midi sequencers, euroracks, and digital audio workstations -1/4” mono input/output jacks-2.1mm DC Connector-5.7” x 4.7” x 1.5” enclosure dimensions-true bypass-input impedance: 1MΩ-output impedance: <1kΩ-power supply: 9 to 9.6 VDC center negative-current draw: 100mA max

POLYPHRASE is a stereo echo and looping device inspired by early proto-digital delays of the 1970’s like the Lexicon Prime Time. As sophisticated as it is easy-to-use, Polyphrase is capable of everything from rich, dubby rhythmic repeats, to metallic resonant flanges. It is unique in being able to generate loops as long as 22 seconds, opening up a new palette of sonic possibilities for the avant-garde, ambient, or adventurous musician.Polyphrase features two independent SLIDERSfor left and right delay times that can be locked into an infinite feedback loop which will produce an ever-changing sample of audio as each channel overlaps with another. This makes Polyphrase a tool for exploration capable of achieving the same kind of harmonic oscillation found on Steve Reich’s seminal tape piece “Piano Phase”.The TIME knob interacts with the left and right faders by providing nine different maximum delay times starting at 85 milliseconds, and doubling in value as the parameter is increased up to 22 seconds. Each new delay section is cross faded into the signal path, an important design consideration that avoids any pitch shifting artifacts and is useful for creating new and often unexpected musical phrases when used with high repeat settings.Three ECHO STYLES are available, and each style configures its own dedicated routing for the delay feedback path. “Dual stereo” provides two independent echos, and they can either be stacked in mono, or routed out of each stereo channel. In “ping pong” mode, each delay feeds back into the other, creating either a classic stereo ping pong sound (with each repeat bouncing between the left and right channel), or a multi-tap delay effect (when used in mono). The last mode is a mono delay - it routes the feedback path to the IN R, OUT R jacks so that you can use external effects in the echo’s feedback path.The TONE control is a bipolar equalizer (EQ) situated in the feedback path of the echo. At 12 o’clock, the EQ has no effect on the audio. Turning the knob clockwise cuts low end - making each repeat brighter than the previous. Turning the tone knob in the counter-clockwise direction cuts high frequencies - it creates darker repeats, which- makes Polyphrase capable of achieving similar timbre to the storied analog, bucket-brigade delays.The echo signal can be pitch modulated with the RATE and DEPTH controls for a sine wave style chorus / vibrato, or with a random wave for detuning effects similar to aging tape echos.Finally, Polyphrase has a fully featured MIDI INPUT that provides tempo sync, full remote control of all parameters on the faceplate, and access to 9 onboard user preset slots. FEATURES- Delay times from 5 milliseconds to 22 seconds- Two delay lines that can be used in stereo or stacked in mono- Infinite feedback- External feedback path- Tone control in the feedback path- Echo pitch modulation with sine or random style waveform- Tap tempo- Midi tempo sync- 9 onboard user presets accessible via midi program change (PC) messages- Remote control of all parameters on the faceplate via midi continuous controller (CC) messages- 3 gain configurations for line level, instrument level, or low instrument level- Housed in a single block of walnut, CNC routed, hand sanded & polished SPECIFICATIONS- 165mm x 140mm x 45mm- 1/4” mono jacks- Input impedance: 1MΩ- Output impedance: <1kΩ- Current draw: 200mA- Soft-touch foot switches- Buffered bypass    

Dynamic, responsive, tube-like, and amp-like. Walrus Audio is extremely excited to announce the new 385 Overdrive that is boastfully responsible for all those adjectives. For decades now, guitarists in search of pure tone have been taking the tube-powered audio sections of vintage film projectors and using it as a guitar amp. Heads up – it sounds amazing. After endless hours of research on vintage Bell and Howell 385 Filmosound projector, Walrus has created a fantastic new overdrive modeled after the projector’s tone. The Bell and Howell 385 gracefully lends itself to create an amazing guitar amp. Its simple, but effective controls, plus dual 6V6 output section make for a simple and extremely responsive amp that has an amazing compressed overdrive when cranked. THIS was the sound and feel Walrus needed to shoot for in an amp-like pedal. The 385 was developed to have the same simple but effective tone control as it’s grandfather. The amp has this as well but bass and treble are stacked behind the single tone knob. With our design breaking them up, we allow for a much wider array of tones to be achieved. The user is able to boost and cut bass and treble, allowing them to be creative with mid-frequency scoops and bumps. The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box. This means it is extremely sensitive to how hard you dig in – just like the amp. 

The  Walrus Audio Aetos is an 8-output, isolated power supply, utilizing an internal custom wound toroidal transformer to provide the highest noise filtering and cleanest power, giving artists the purest sound in their signal chain. The Aetos is housed in a solid die cast enclosure and is 4.7”long  x 3.7” wide x 2” height and  has 8 total 9VDC outputs, 6 are 100mA and 2 outputs are high current outputs (300mA)  for higher current drawing pedals like line 6 DL series modelers, the Boss Twin Series Pedals and many digital modulation pedals on the market. It comes with a detachable 120V AC Power cord and also has a 120VAC complimentary power output. This unit comes with 8 – 2.1mm barrel black power cables and 2 black-to-red (Line 6) power cables.  We recommend high profile dual lock for mounting the Phoenix under your board. Fits under most pedal boards including Pedaltrain (PT JR and up), Pedal Pad, Blackbird Boards, Creation Music Company, and Holeyboards.

The ARP-87 is a compact, feature-rich delay, packed with a large pallet of inspirational delay tones. Featuring four main algorithms, digital, analog, lo-fi, and slap back, the ARP-87 can cover some serious ground in the world of echoes. The  Digital algorithm boasts pristine, crystal clear repeats great for rhythmic riffs. The Analog setting works well to add warmth and dimension to chords and lines without getting in the way. The Lo-Fi algorithm, with its adjustable frequency range on the repeats, goes from warm, warped, and murky, to strait AM radio. Finally, the Slap setting makes it easy to dial in a great slap back echo perfect for smoking chicken pickin’ runs. With other features like our smart bypass switching, and momentary knob ramp, the ARP-87 provides endless creative opportunities that are waiting to be explored.   The X knob changes functions depending on which Algorithm you are using. It adjusts a specific parameter in each algorithm. In Digital, Analog, and Slap modes, the knob will control modulation depth. In Lo-fi mode, the knob will control Filter width.  Note that when changing delay types this loads a whole new algorithm and the tempo must be tapped in again. Max delay time is 1000ms. Trails Mode The ARP-87 can be run in trails or no trails mode. In trails mode, when you turn the pedal off, the delay trails die off naturally. In no trails mode, the delay trails are abruptly cut off when you turn the pedal off. To toggle between either mode, hold down the bypass switch for 1 second while applying power to the pedal. Unplug power and repeat to toggle to the other mode. Momentary Functions When the switch is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of delay texture. Releasing the switch turns the effect off. When the effect is on, press and hold the bypass switch to momentarily ramp the X parameter to maximum. Releasing the switch sets the X parameter back to the knob location.  Press and hold the Tap Switch to temporarily ramp the feedback to maximum. Release to set the feedback back to the knob location.