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Area - the art of reverberation.Area is an extremely versatile Multi Reverb with which you can obtain many reverberation environments. From short reverberations to huge spaces and celestial atmospheres, without clouding the Dry signal.Area is built on the base of powerful digital algorithms of our own creation, reproducing 4 different reverberation effects with an exceptional sound quality.The new Mastro Valvola Area MkII has all the same features of first Area multi reverb, with the addition of the innovative “Timed Bypass System”, designed by Mastro Valvola, to manage the reverb trails.When Trails mode is engaged and the effect is turned off, the pedal uses the “buffered bypass” and the reverb trails die of naturally. When the reverb trails are completely dead the pedal automatically changes the bypass system in true-bypass through the internal relay. Main features: 4 types of reverb: Reverb – Modulation – Shimmer 8th – Shimmer 8th + 5th 3 presets, easily managed with the preset button Damp control, to modify the emphasis on the reverberation frequencies dedicated Pre-Delay control, to easily modify the separation between the Dry and reverberated signal analogical Mix control, varying from 100% Dry to 100% Wet True-bypass with Timed Bypass System (TBS), to manage the reverb Trails completely analog Dry signal path Reverb types: REVERB: in this position, combining the Decay, Damp and Pre-Delay you will be able to obtain several kinds of reverberations: ROOM, PLATE, HALL. MOD: a double voice chorus modulation is added to the reverberation atmospheres, enriching the space of your environment. SHIM 8th: the tail of the reverberation is enriched by symphonic shimmers, tuned 2 octaves higher. SHIM 8th + 5th: the tail of the reverberation is enriched by symphonic shimmers, tuned on the higher octave and fifth.

Sonically drench yourself in swirling modulated tones.  Not many effects can be as provocative as a chopping tremolo, a swirling rotary, a dreamy chorus, or a crazed filter sound.  Nothing  compares 2 a thick flanger or deep harmonic tremolo.  Nothing goes better with modulation than delay and reverb.  With the Super Mod Workstation you can combine 2 effects together to create a nearly endless soundscape of tones.  Add tap tempo and an expression pedal and you have all the tools at your disposal to create a mesmerizing array of sounds. The Super Mod Workstation contains many of Keeley’s finest effects.  The Harmonic Tremolo in this unit is inspired by vintage brown face amps.  The Keeley DynaTrem contained our first Harmonic Tremolo.  Many consider this deeper and thicker sounding than the U Vibe type effect.  The ADT in the Super Mod Workstation is from the 30ms Automatic Double Tracker.  Last year that effect set the effect world on fire with the best complete ADT unit in a stomp box. The Super Mod Workstation allows you to combine effects like Tremolo, Filter, Phaser, Chorus, Rotary Speaker, or Delay with other similar modulation effects, including delay or reverb!  For example you can combine our famous 30ms Double Tracker sound in the ADT, with a Flanger, or an Echo, or Plate Reverb.  Another example would be to use Bank 1 – Phaser sound, combined with Bank 2 – Delay.  You can use the expression pedal to run delays into self oscillation feedback!  You can Tap Tempo input a rate for the Harmonic Tremolo sound on Bank 1 and then use an expression pedal input for speed of the Rotary Cab sound on Bank 2.  Decide it’s #modulationFreeMonday?  Well, you can use the Analog Delay on Bank 1 and a super wet Hall Reverb on Bank 2. Two banks of eight legendary effects.  Super Fidelity.  Super Compact. The Super Mod Workstation has Tap Tempo for Mod Bank One, and external expression control on Mod Bank Two. Super Mod Workstation effects include: Tremolo w/triangle to sine waveform control Harmonic Tremolo w/presence tone control Filter Trem w/oscillator and random control Phaser w/feedback control ADT w/blend control Rotary Cabinet Sim w/treble horn control Digital Delay Analog Delay w/dynamic modulation Chorus/Vibrato w/blend control Flanger w/positive or negative feedback Hall Reverb Plate Reverb Tap Tempo on Modulation Bank 1 Expression Control on Bank 2

MINI  KATANA CLEAN BOOST!  Keeley’s oldest design made smaller and with tasteful updates including an additional feature.  The Katana started back in 2002 within the Time Machine Boost.  It was a dual class A JFET design that gave players and incredible boost and sounded so good they never turned off.  In fact they often ran two or three on stages like John Mayer!  The Mini Katana boost provides over 35dB of boost.  Enough for the most demanding players and sound reinforcement. New for the Mini Katana – 4 MODES! The new Mini Katana is now a 4 Mode Booster!  With the dual micro switches you have a total of four sounds possible.  Need drive, just flip the micro Hi-Gain Switch inside and you’ve got overdriven tone!  Flip the Hi-Cut Switch (NEW for the Katana Mini!) on the inside and you have a warmer tone to soften any Strat or Tele.  Flip both switches and you have the ultimate sounding boost, thick, creamy, tube-amp sounding, and plenty of volume on tap! Obsessed with cleanest, most enjoyable tone boosted? Well, Before other people started using Blue LED’s and non-diode clipping stages, there was the TMB and Katana…. Cascading FET stages do the tube-amp-thing like nothing else! Now made smaller, it will fit any board – any budget.  Enjoy a tasteful update to the pedal that redefined clean boost in the boutique era!

The true-stereo K eeley ECCOS artfully combines a delay pedal and a looper. At the heart of the ECCOS is a neo-vintage delay with unprecedented control over tape-style echoes. Create long and majestic sounding tape flanged delay lines and then switch to the feature-packed Looper to record endless layers of sound! Dual stomp switches in delay mode are for true-bypass, tap-tempo and even endless feedback – but in looper mode they allow you to record, play, reverse, half-speed and even trigger a “play-once”. Live or as a studio workstation the delay and looper work together giving you endless room for creating and experimenting in a small footprint. With over four years of development on the Quad 24/56-bit Dream DSP, Keeley has reached the pinnacle of delay sound quality with the amazing new tones in the ECCOS.   The ECCOS now features Sound on Sound Mode! Sound on sound mode lets you record without erasing the original loop. The volume of the loops degrade over time, recreating a vintage reel to reel recording technique. To set the decay of the loops, hold down the FDBK knob and adjust the Depth control. This alt control comes in handy when using Sound on Sound Mode.   ECCOS is a True Stereo Delay and Looper Studio quality delay with tape flanged modulation Features include 3 memory presets, subdivisions, trails, runaway feedback Huge array of tone and time-based controls with the Alt Hold feature Full-featured Looper with reverse and half-speed loop effects 2 minutes of looping in mono, 60 seconds in stereo, Endless layers of recording! True-Bypass and Tap Tempo on-board or remotely with any style pedal-switcher Expression pedal assignment over any parameter and in any direction Pro Rig designed, remote control thru 1/4″ jacks for live use with pedal switcher systems 100% analog dry signal, audiophile designed input to output Stereo True-Bypass/Trails, switchable on the fly 9 Volt DC, 115mA low-current design Made in Edmond, USA     The ECCOS features advanced independent switching. The Delay or the Looper can be turned on and off independently. You can start the Looper without without a Delay Setting.

The DRIVE section gives you two styles of overdrive to choose from: Crunch or Lead.  The Crunch Style gives you a gritty British tube-amp combo sound.  The Lead Style gives you a warm and dark, mid-pushed overdrive.  The WET side of the pedal gives you Delays and Reverbs.  A Vintage/Modern Switch allows you to toggle between Spring & Plate reverb or Analog & Digital delay.  Use the built-in effects loop to insert effects between Drive and Wet, or run it by itself as the only pedal you’ll need!   DRIVE Channel – A pair of modified super-drives to choose from. Volume, Tone, and Drive for days! STYLE Switch – Tube-amp Crunch or Lead-channel Sustain WET Channel – three knob delay or reverb with Blend, Decay, and Time Delay/Reverb Switch – Center toggle, WET Mode Select Top-mounted jacks for effect pedal insert or split TRS Insert Switch – side mounted selector True-Bypass or Trails Switch – side mounted selector 9VDC, 100 mA, no battery option Designed and Made in the USA

JHS Pedals is proud to present the Whitey Tighty compressor, our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down. The Whitey Tighty is as simple as it gets while never getting in the way. At only 1”x3”, you’ll save so much space on your pedal board that you’ll be able to add to your wardrobe of effects with ease. And with the ability to blend in compression and clean signal, you’ll be able to dial in the perfect sound that keeps everything in place. The Whitey Tighty is a FET compressor that has three simple controls: Volume, Compression, and Blend. The Volume control gives you the ability to set your volume at unity gain or slightly boosted to make up for any perceived loss from the compression. The Compression knob controls the amount of compression for everything from a subtle smoothing of your tone to a pleasing squash that’s perfect for country, blues, pop, and rock. Use the Blend knob to dial in the right amount of clean tone along with your compressed signal. This allows you to retain some of the natural feel of your clean tone while giving you the studio-quality compression that brings your sound to the next level. Tighten up your tone with the JHS Pedals Whitey Tighty!

The Space Commander brings you the spacey sounds of vintage chorus and reverb with a powerful clean boost on board.  With simple controls and the ability to use each effect separately or engage all three effects with one stomp, you’ll find yourself fully in command of your spacial exploration like none other!  So let's suit up, grab your space blaster, and prepare for take-off.   The Space Commander is three-effects-in-one...with a one-knob control for each of the effects: Boost, Chorus, and Reverb.  Each effect is independently engaged by a toggle below the knob, and the pedal's master on/off is the footswitch. The "Boost" is a simple but powerful transistor boost that can be used to give your rig more volume or send your amp into natural breakup, perfect for tube amplifiers. The Chorus is a classic swirling 80s style chorus. When increasing the Chorus control the speed increases while the depth decreases, and when decreasing it the speed decreases and the depth increases. The Reverb is a hall reverb that is perfect for adding that 80s style decay to your sound. The Reverb knob controls your reverb mix, from fully dry to fully wet. All these combined will have you screaming “Friday, I’m in love” in no time.   - CLASSIC 80S STYLE EFFECTS - INDIVIDUAL BYPASS TOGGLES FOR EACH EFFECT. - SIMPLE CONTROLS FOR EASY TWEAKING OF YOUR SOUND. - MASTER BYPASS FOOTSWITCH SO YOU CAN ENGAGE ALL EFFECTS AT ONCE.   The Space Commander is your time machine to take you back to the wonder years of chorus and reverb!   SPECIAL THANKS TO ROBERT KEELEY FOR HIS EXPERTISE, ASSISTANCE, AND WIZARDRY ON THE DIGITAL PART OF THIS PEDAL! THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 84MA AND MEASURES 4.7"X3.7"X1.5”

JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.  This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels.   ALL THE MIDS CONTROL! A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination. The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice!  Just hit the footswitch!   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 67MA, AND MEASURES 2.2"X4.8"X1.6".

The Big Muff fuzz has been around so long, been on so many classic recordings, and been through so many variations that every guitarist out there has a favorite version of its iconic tone. JHS wanted to pay tribute to that undeniably classic fuzz pedal, but we couldn’t come to a consensus about which Muff was king. With the Muffuletta, our indecision is your gain. We crammed five all-analog re-creations of the pedal’s most beloved tones into this box. We even threw in a JHS-exclusive tone that is our take on the historic stomp. No matter what Big Muff era you prefer, you can get ‘em all in the JHS Muffuletta fuzz pedal. Five tones inspired by these classic Big Muffs:    - JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful and less compressed, with a more haunting midrange. It is also the best for bass guitar.   - ‘73 RAMS HEAD - “1973-1977 V2” The ‘73 Rams Head gets its name for the strange little face that appears on the lower right corner of the original pedal. It is best known for having a scooped midrange, less gain, and being darker. Famous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)   - THE TRIANGLE - “1969-1970 V1” The Triangle Muff is so named for the triangle arrangement of the knobs. It boasts more low-end response while being more articulate. Famous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.   - THE PI - “1977-1978 V3” An instantly recognizable red Pi symbol gives this pedal its moniker. This is not to be confused with the later redesigned NYC version released in 2000. It features a more aggressive sound. Famous users:  Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).   - THE RUSSIAN - "1999-2009 V8” The Russian Muff is named by the “Made in Russia” text found on the back of the pedals. It sports less clarity and less low end than other models. A great garage-type sound. Famous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).   - THE CIVIL WAR - “1991-1993 V7” The old-style Civil War-era font and navy and gray colors found on these pedals’ enclosures dictate their name. They are best known for having more midrange and having a brighter overall tone with less gain. Famous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 4MA, AND MEASURES 2.2"X4.8"X1.6".    

Taming a screaming-loud tube amp doesn’t always require bulky and expensive load boxes and attenuators. If your amp has a series effects loop, the JHS Pedals Little Black Amp Box takes care of the job while being able to fit into the palm of your hand.      Simply run it through your amp’s effects loop and control the amount of signal you send to your amplifier’s power section. You’ll love the way the Little Black Amp Box lets you really push the front end of your amp for the natural feel and tone that you can’t get any other way. And your bandmates, sound engineer, parents, neighbors, significant other, and pets will love the way it can keep your volume down to bedroom levels. **WARNING** ATTEMPTING TO PLACE THE LITTLE BLACK AMP BOX BETWEEN THE POWER SECTION OF YOUR AMPLIFIER AND YOUR SPEAKERS WILL RESULT IN DAMAGE TO YOUR GEAR. PLACE IT IN A SERIES EFFECTS LOOP ONLY.   CRANKED AMP TONE AT WHISPER VOLUME If your amp has a series effects loop, you should stop reading this and go buy a JHS Pedals Little Black Amp Box. All the roaring amp tones you need come with none of the ear-bleeding levels. - Run it in your effects loop to turn down a turned-up amp- Retain the response and tone of your amp’s sweet spot at lower levels- High-grade components keep your tone clear and pure- Passive design doesn’t require any power   CONVENIENT LOW-PROFILE DESIGN A device such as the Little Black Amp Box is content to be a workhorse piece of gear that quietly does its job in the background. That’s why we designed this little guy to be compact, sturdy, and simple to integrate into your rig. - Small size is ideal for saving pedalboard space or even setting on top of your amp- Can easily be mounted underneath your board- Built rugged- Black powder coating keeps the buffer hidden in the background WE DO NOT SUGGEST RUNNING OTHER PEDALS IN THE EFFECTS LOOP WITH THE LITTLE BLACK AMP BOX AS IT WILL AFFECT THE WAY YOUR OTHER PEDALS SOUND. STILL, FEEL FREE TO EXPERIMENT WITH IT AS IT WILL NOT DAMAGE YOUR OTHER PEDALS. THIS PEDAL DOES NOT REQUIRE POWER AND IT MEASURES 3.6"X1.5"X

The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In 1969, Electro Harmonix released the first “Triangle” version of the legendary Big Muff distortion fuzz. All throughout the 1970’s we see various new revisions of this famous circuit like the V2 "Rams Head” (1973), V3 “Pi” (1977), V4 “Op Amp” (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade.  In the early 90’s Mike Matthews noticed that his 1970’s Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*.  This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* “Civil War” (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history.   The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never before heard “JHS Mode”. Push that button for a mid frequency boost that forces your sound through the mix.  If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you. USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC,OR YOUR WARRANTY WILL BE VOIDED.  THE CRIMSON DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create. The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange “Onomatopoeia” version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors.  The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never-before-heard “JHS Mode”. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about.  If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.   USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.  THE BENDER DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

Cabzeus is a algorithm-based  speaker - cabinet - miking  simulator system. Connected direct to your gears this device enables you to obtain the sound of a miked-guitar amp cabinet without the hassle of miking your cabinets. Extending this basic function, we’ve built into Cabzeus a plethora of unique and powerful features that goes beyond simple speaker simulations. Stereo I/OCabzeus has 2 independent channels, each with its own input, thru, and output. Using a special software that we provide you can freely customize the simulation aspects (speaker type, cabinet type, mic placement, etc.) of each channel independently. To help you get the most of your stereo setup, we have also included powerful stereo processing functions such as : adding short delays (0.02 ms to 125 ms) to one of the channel. blending two simulation channels. independent volume and phase control.  2 Operating Modes : Stereo Cabs : simulates the process of close-miking two independent speaker cabinets. Each simulator channel has its own extensive set of parameters, including speakers and cabinet type selections, mic-placement , blending, phase, and volume, offering rich and versatile simulation scenarios for both live and direct-recording applications.   Stereo Mics : simulates the process of capturing the sound from a single speaker cabinet using two microphones, one mic is placed close to the speaker (close-mic) and the other is placed further back in the room (room-mic). An extensive set of controls offers flexible arrangements and powerful means to combine the two microphone signals into huge expansive stereo sounds. Balance of Analog and Digital.Cabzeus uses advanced DSP processing techniques coupled with clean and robust analog circuit designs which ensures optimal operating headroom and absolutely minimal noise. Each algorithm has been painstakingly hand-crafted and tuned to achieve faithful emulation of popular and proven speakers and cabinets, we literally spent hundreds of hours analyzing speakers data and an equal amount of time reconstructing their responses through complex algorithms.Speaker & Cab selectionSpeakers selections are organized into 4 classes: Guitar, Bass, Gears, and Miscellaneous. Integrated DI BoxYou can connect a wide range of input sources, ranging from your favorite stompboxes, preamps, your head amp's speaker out, to any music player (see Application Ideas). Its stereo balanced outputs are capable of driving long cables straight to mixing console or FOH speakers. These outputs are tolerant to phantom power, they will not be damaged by accidental application of phantom power. Key Features : Compact, stereo Speaker / Cabinet simulator + DI Box. 2 inputs - 2 thrus - 2 outputs (balanced) 8 Presets. Input Pads : 0dB (unity), -20dB or -30dB. Independent Mic Position controls. Deep algorithms editing via CabsLab® software. MIDI and External Switch Inputs for remote preset change. Stereo headphone out with volume control. Internal charge pump circuitry boosts 9V supply voltage to 18V for extended headroom. Specifications : Input impedance: 1 MOhm.   Output impedance: 300 Ohm.       Sampling rate : 48 KHz. DAC / ADC resolution : 24 bits. Current consumption : ~150 mA. Weight : 0.6 Kg (1.2 lbs). Dimension : 12 (L) x 9 (W) x 5.5 (H) cm Power source requirement : 9VDC (negative center).

Cabzeus MONO is a compact yet powerful speaker simulator + DI.Box pedal. It was developed as a single channel version of its stereo big brother, Cabzeus. Cabzeus Mono offers 12 Speaker algorithms modeled after the real-life counterparts, each algorithms has 4 variations (speaker size and cabinet type), for a total of 48 sounds to select from. Simple yet effective user interface lets you browse through the algorithm library and user presets with ease. The speaker simulation may be bypassed allowing you to use Cabzeus Mono as a straight forward DI Box. Headphone OutA headphone out with a dedicated volume control allows you to have a silent practicing session in the middle of the night. And to make your headphone listening experience more satisfying, despite only mono signal is available, we added a capability to insert an adjustable amount of short delay on the Right channel audio to widen the perceived stereo field. Integrated DI BoxYou can connect a wide range of input sources, ranging from your favorite stompboxes, preamps, your head amp's speaker out, to any music player (see Application Ideas). Its stereo balanced outputs are capable of driving long cables straight to mixing console or FOH speakers. These outputs are tolerant to phantom power, they will not be damaged by accidental application of phantom power. Key Features : Compact Speaker / Cabinet simulator + DI Box. Ports : Input, Thru, Outputs (balanced - XLR) 2 Presets. Input Pads : 0dB (unity), -20dB or -30dB. Mic Position control. Stereo headphone out with volume control. Internal charge pump circuitry boosts 9V supply voltage to 18V for extended headroom. Specifications : Input impedance    : 1 MOhm.   Output impedance : 300 Ohm.       Sampling rate : 48 KHz. DAC / ADC resolution : 24 bits. Current consumption : ~120 mA. Weight : 0.45 Kg (0.9 lbs). Dimension : 7.5 (L) x 9 (W) x 5.5 (H) cm Power source requirement : 9VDC (negative center).

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  10mA @ 9v.   The Southland Harmonic Overdrive is built on the Lightspeed Organic Overdrive platform, we have developed what we believe to be the best overdrive on the market.  The Lightspeed was built with the specific purpose of being a light to mild overdrive.  The Southland is the next logical step for the Lightspeed platform—more gain, with two stages of clipping (utilizing different diode types for each stage of clipping), a focused midrange (not that annoying “hump”), and a bit of presence on top of the signal, to help cut through the mix.  The Southland Harmonic Overdrive, like the Lightspeed, is touch sensitive, responds to pick attack, and has dynamics that just won’t stop.  On top of that, we’ve selected a chip to drive the Southland that takes it to the next level.  The Southland Harmonic Overdrive will fit with any musical style, and pairs amazingly well with the Lightspeed Organic Overdrive.  If you're looking for two pedals that stack amazingly well together, and can give you a rich, harmonics-filled overdrive tone, then it's time to get a Southland Harmonic Overdrive, AND a Lightspeed Organic Overdrive, today!!! ***NOTE***We've been getting quite a few questions, about whether or not the Southland and Lightspeed cover the same territory.  The truth is that they don't.  The revoicing of the circuit to have more of a focus on the mids, and more presence in the top end, as well as the increase in gain of the circuit, push the Southland to a place that the Lightspeed doesn't get to...one of the primary goals with the development of the Southland was to create a pedal that was different, AND would work well together with the Lightspeed.  The combination of the Southland and the Lightspeed make for one of the most heavenly overdriven tones we've ever heard...and we're okay with that! Amazing mild to medium overdrive and crunch! Thick harmonics, amazing sustain! Focused midrange (without the annoying hump), and extended presence range, to help cut through the mix! True Bypass! Uses 9-Volt battery or standard neg. center, 2.1mm power supply. Built with top quality components Lifetime warranty to the original owner!