Pedals

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!

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  10mA @ 9v, 18mA @ 18V.  A brave new  world of tone, the SOMA ‘63 Vintage Preamp is the first pedal in the XFR series of pedals from Greer Amps. The SOMA ’63 is a true vintage preamp, based on the tone and feel of vintage brown era amplifiers from California. This pedal simulates the entire preamp, phase inverter, power section, and even the feel of the vintage 10 inch Utah speakers that were in those famous brown amps. The tone stack is designed to provide a wide and dynamic range of tonal options to the user. The Presence control works with the tone stack, and is designed to be a wide range control, effecting the overall sound of the entire circuit. The SOMA ’63 features a steel core transformer in the audio signal path. The transformer lends to the overall tone shaping of the circuit, and when the gain is pushed hard, especially with higher output pickups, the small steel core transformer will saturate, just like a vintage amplifier. The SOMA ’63 can be used as a tone-shaping preamp, or as an overdrive pedal. There are a wide variety of tones available in the SOMA ’63, so spend some time with your new pedal, and find the tones that rock your world! The SOMA ‘63 runs off of a standard, negative center pin 9 volt power supply, and can be ran off of up to 18 volts. At 9 volts, the SOMA ‘63 will have more grit and texture. At 18 volts, you can expect higher headroom, a bit stiffer response, and less overall grit. Greer Amps’ lifetime warranty covers manufacturing defects and component failure to the original owner, it does not cover misuse or abuse.

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  15mA @ 9v. Greer  Amps expands the XFR line with a new offering!  The Royal Velvet Class-A British Drive and Pre nails the feel and tone of two of Nick Greer’s favorite amps. Imagine a world in which a V*x 30 watter and a Greer Thunderbolt30 got together. In that world, you’d end up with a sound machine much like the Royal Velvet. This British drive and pre features the same transformer as the previously released, award winning SOMA63. After a year of working with this super versatile transformer, we have found a way to alter the feel of it by changing the “loading” of the transformer. This really brings the pedal to life, and makes it something truly unique in the space of drive pedals today. If you’re looking for that Class-A British grind with some chime on the top end, this beauty is what you need. The EQ is dialed in right between the AC and Thunderbolt30 tones, and the drive is oh so sweet. At 9 volts, you’ll get some grind and slight compression with the gain up and moderate output pickups. 18 volts provides more of a stiff feel, and more clean headroom with that British sparkle! Classic British tone, drive, and grind! Features a steel core transformer! Can be used as a preamp, and takes drives amazingly well (stack it--it sounds great when it's stacked with other drives)! 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!

ROOMS is a stereo, multi-function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind. ROOMS was designed to the highest standards of flexibility and audio fidelity. A studio-quality mixer section provides independent DRY and FX controls over six meticulously programmed reverb algorithms; ROOM, DIGIT, PEAK, GATE, WAVE, and GONG. Each different verb is capable of a universe of sounds, and ROOMS is here to help you explore them. ROOMS' creative I/O switching and dual-mono dry signal lines allow for a wealth of possible mono and stereo configurations, making it easy to route signals for parallel processing or stereo amplifier setups. CONTROLS  FREQ: Controls the frequency parameter of the current mode. DEPTH: Controls the depth parameter of the current mode. TIME: Controls the reverb time in all modes. DRY: Controls the volume of the dry signal, from -inf to 20x gain. FX: Controls the volume of the reverb signal, from -inf to 20x gain. ALT: Engages the ALT mode, switching between two sets of controls. When active, FREQ is controlled with the F knob, DEPTH with the D knob, and TIME with the T knob. Additionally, the ALT mode turns on expression control of either FREQ or TIME using the F<->T Switch on the side of the pedal. NOTE: Expression control ONLY works in ALT mode and when an expression pedal is plugged in. SPECIFICATIONS Dimensions: 5.95" x 3.86" x 2.96" (including hardware). Weight: 18 oz. Power: 80 mA, 9V (runs on a standard 2.1 mm negative center 9V adapter). Expression Pedal: Almost any expression pedal will work with ROOMS. When not plugged in, the controls work as normal. NOTE: Expression control ONLY controls the F or Tknobs when ALT mode is engaged and when an expression pedal is plugged in.

This might be our most insane pedal. Showing little-to-no respect for what instruments normally sound like, or even what people want them to sound like, we pushed this thing until it sounded fully unhinged. Want a thick, gnarly fuzz sound? Sure, you can do that, and it'll sound really, really good. You can also push the OVERLOAD slider into blooming, octave nastiness. Push it further and starve the circuit until your signal eats itself. Push it to the maximum and your sound will duck completely into the void before it returns, coming back to life with a relentless vengeance.  CONTROLS Master Volume: Controls the output volume of the effect. Overload: Sets the ceiling at which the pedal overloads. When turned all the way up, the pedal will not overload. As the control slides to the left it pulverizes the sound more rapidly. Gain: Sliding this control to the right increases gain and distortion. Horizontal sliders have been recessed to protect them from bending or any accidental movement while playing.  Harnesses a power amplifier IC to generate its insane sound. Its Gain and Overload sliders interact to create a wide range of unique sounds in various positions. You choose, to your liking, how much to absolutely destroy your sound. The further the Overload control is set to the left, the faster the effect slips into absolute destruction. Blow it out even harder and faster by slamming Gain and Overload opposite one another. Lower one or the other for smoother attack and release. Screaming octaves, thick fuzz, and the sound of your guitar reaching back from the depths of destruction are at your fingertips. Think of it as a psychotic compressor, or maybe more accurately the sound your amp would make if you set fire to it.  SPECIFICATIONS Dimensions: 4.95" x 2.61" x 2.34" (including hardware) Weight: 10 oz. Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery). Current Draw: 5 mA.

So, what IS the story on Wave Cannon® version 2.0, or as we’ve decided to call it, the Wave Cannon MKII Superdistorter? The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units. It’s different than the original, which was based on the classic ’70s fuzzstortions we grew up playing. It’s different from our Haymaker™, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off. While it can do some extremely cool mild-to-medium crunch tones, Wave Cannon II is really capable of overwhelming your amp. The focus (mids) and tone controls are different from what we’ve done before and can give you a really broad range of textures and voicings. There is a LOT of gain and volume on tap, as we’d been infuriated in the past by great sounding classic distortion pedals we’ve owned that didn’t go far enough with clean amps, or were quieter than unity gain or the bypass signal. The rumble switch allows more low end if you want it, or lets you tighten things up if you don’t need it.

From seasick wobbles to glitchy bleep-bloops and “I think I can” huffs and puffs, the crazy-sounding stuff was actually the easy part for us. So once you’re done maxing out different settings to hear what kinds of bizarre wowie-zowie sounds you can make with this thing, we encourage you to explore the subtleties of how each control interacts with the others, and the remarkable range of sounds that you can quickly and intuitively dial in. Gentle, lagging vibrato, 1980s style choruses, and even some doubling effects are possible…and then, turn up & go wild again. SOMERSAULT™ applies a similar framework as our popular KILOBYTE™ and MÉTÉORE™ pedals. While the digital chip sets the delayed wet signal, the initial gain stage, dry signal, LFO, control set and output mixing stage are entirely analog. The end result sounds rich and fat, with the same robust feel and power our customers have come to expect from our work.

PARABOLA™ is the sonic equivalent of riding your space mammoth through giant puddles in the astral plane while feeding it caffeinated energy drinks. Think of this as your rig’s new “tremolo channel”. We’ve adapted the deliciously sloshy, transistor-based LFO and distinctive waveform from our favorite “West German” device, modified its speed and depth to match and go beyond those from your favorite classic amps, and then added pre and post effect gain stages for both overdrive and volume boost. Then we offer the classic, dramatic amplitude modulation (AM) you might expect, or a filtered modulation (FM) that is subtle, beautiful, and less invasive on your playing. Your pedal was dreamed, designed, and created at our small batch distortery™ in Columbia, S.C. Thank you for supporting our work and putting it to use.

Imagine taking the ice bucket challenge, but you’re dunking yourself in dreams! Inspired by the ultra-modern line 14 of the Paris Métro and its sleek platforms of glass, steel and tile that add all kinds of cool sonic artifacts to the space, the MÉTÉORE™ (pronounced may-tay-or) is our take on reverb. We’ve kept your original signal path analog and pure, while giving you overdrive and regeneration controls to take you from spring reverb sounds to something much bigger. The controls are very interactive with each other, and as per Caroline tradition, this pedal can get VERY loud. You know, something something power, responsibility, blah blah blah…

Your quest for toanz have brought you to our HAWAIIAN PIZZA™: a bespoke artisanal blockchain of handcrafted tone, the sonic equivalent of a forbidden delicacy, all from just three knobs and the truth*. We discovered this circuit in the discarded manila file folders of our old multinational overlords, the Caroline Corporation, alongside all kinds of very 1970s corporate villainy and sci-fi plans for world domination. Your pedal was then dreamed, designed and created at our small batch distortery™ in Columbia, S.C. So thank you for supporting our work! *it’s really a fuzz, but a really versatile one

Modulate Everything. We took the leash off of what started as an experimental delay engine and Superball is what happened. An uber-flexible LFO, dedicated time sequencing, and resonant low-pass filter combine for the bounciest digital delay oscillations you can imagine. Warning: We’re not getting this down off your roof if you get it stuck up there. Superball is a little different from all of our other pedals. While it is basically a great-sounding digital delay, it also goes a lot further than that.The pedal features an ultra-flexible LFO (low-frequency oscillator) that can control all of the delay parameters, in any amount, in any direction. The LFO can run continuously or be set to “bounce” like a real rubber ball. Top that off with an innovative sequencer that controls only the delay clock, for pitch-shifting and time-stretching action, and you’ve got yourself a heck of a fun toy.   Tap the Select button to assign the pedal knobs to one of four control modes: LO = controls the delay time, repeat, mix, and filter when the LFO is at its low point HI = controls the delay parameters when the LFO is at max LFO = knobs change the LFO speed, depth, wave shape, and tap sync or bounce SEQ = knobs change the sequencer rate, pattern, steps, and tap sync.

Mankind has long known of the amazing properties of reverberant spaces. From the brilliant reflections of the largest concert halls to the splashy depths of your own shower, every space has its own characteristic sound. The Space Race is our humble homage to the sounds of “elsewhere,” and features six ingenious ways to add some space to your place, whether you're reaching for the stars or just trying to make your world a little bigger. Reverb is a pretty subjective thing - sometimes you need a soft and subtle bloom behind your notes, and sometimes you really need to wail at the bottom of a stone well. The Space Race gives you a ton of options, all of which you can tweak and customize to suit your desires using our simple knob interface. The Space Race features six distinct reverb engines, each with its own set of features and controls. Tap the center button to advance to the next reverb engine.   REVERB ENGINES: MOD: Modulated chamber reverb. The Tweak knob controls the speed and depth of the pitch modulation. SHIM: Reverb with a pitch-shift component. The Tweak knob controls the pitch shift interval, either an octave down or an octave up. LOFI:  Dirty and filtered reverberation, like the echo you might get out of a broken karaoke machine.  Reverb and Space control the decay and pre-delay, respectively, while Tweak controls the amount of dirt and grit present in the reverb signal. PLATE: Bright and present reverb based on both a mechanical plate design and the early electronic plate reverb algorithms. Tweak adjusts the high-frequency damping of the reverb signal. SPRING: You know what this one is. Drippy and wet, this spring reverb simulation is great for both subtle and not-so-subtle effects. Reverb adjusts the size of the reverb tank, Space controls the “dwell” or input signal level, and Tweak controls the tone of the reverb signal. ANALOG: Electronic reverb based on an obscure bucket-brigade echo circuit. This mode lacks all of the smoothing and diffusion of more modern reverb types, so you can hear each individual echo in the reverb tail. Reverb controls the delay time, Space controls the repeats of the echo, and Tweak adds an adjustable modulation effect.

Reverb. Delay. Repeat. The Sky 5000 bathes your signal in an excess of echoes, a deluge of delay, and a surfeit of shimmer.  All of the ambiance you desire is a footstep away. Building a great delay pedal was foremost in our minds when we designed the original Sky Fi.  Development began with a crystal-clear digital delay engine combined with a tone filter to allow tailoring of the response to your liking.  We then added a reverb engine that draws inspiration from certain digital rack units of the '80s and '90s.  These units were designed to be as affordable as possible and had some unique hardware quirks that caused their reverb effects to build in intensity over time.  This "slow-building" artifact is one of the things that made these units so special. When it came time to adapt the Sky Fi to the Neo Series platform we decided to keep the essential simplicity of the original. Inside the Sky 5000, you’ll find the same great tones from the Sky Fi, with a few tweaks to improve the performance and audio quality. Tap tempo, a simplified Repeat control, and more selectable delay tone options await. We hope you love this pedal as much as we do. The Sky 5000 features dual Reverb and Delay engines, routed internally in a parallel configuration. This allows you to combine the two effects without having the reverb wash out the delay, or the delay muddies up the reverb. Each engine has three separate settings, and you can combine them in any way you like. If you want to use only the reverb or only the delay, you can set their levels to zero using the pedal knobs.   REVERB ENGINE: RVB Slow-building ‘90s style reverb effect. Capable of huge washes or subtle ambiance, you decide. +1 Classic “shimmering” upper octave effect. We add in the octave both before and after the reverb for maximum effect. -1 Adds an octave down to the reverb effect. We think it sounds like a cello playing along with you.   DELAY ENGINE: DIG Bright and present digital delay, taken from our original Radical Delay pedal. Use this when you need to cut like a knife. BBD Darker analog-sounding delay effect. Rich and creamy, pairs nicely with the +1 engine for maximum unforgettable fire. OIL DARK sounding delay, murky and a little distorted. Based on our fave vintage electrostatic “oil can” delay unit.

Laughter in the face of adversity is the true sound of perseverance. Riff Instant Tone Sanitizer is a limited edition discrete Class-A Preamp designed to crank smiles and boost spirits during these unique and challenging times. As part of a proactive harmonic health regime, Riff safeguards against the omnipresent threat of tonal anemia and ensures optimal signal chain performance when used as directed.Alexander Pedals will donate $10 from each sale of Riff Instant Tone Sanitizer to Inter-Faith Food Shuttle to help make a tangible difference in the real lives of those affected. To learn more about Inter-Faith Food Shuttle please visit https://www.foodshuttle.org   Controls: Kills — Controls the output volume of the boost. Crank it to overdrive your tube amp. Most — Adjusts the high-frequency content of the boosted signal. The "neutral" setting is around 2 o'clock. Germs* — Set low for a transparent and glassy boost. Or set it higher for fat and juicy boost. Your call. *Riff Instant Tone Sanitizer does not kill germs. Riff is for display purposes only. Bypass Switching: The Riff Sanitizer features true bypass switching using a latching relay and a soft-touch bypass footswitch.   Power Supply: Riff Instant Tone Sanitizer requires a 9V DC power supply with a 2.1mm pin, center negative.  Riff is not designed to be powered on supplies higher than 9V and does not use a battery.  Riff should work fine on a multi-pedal "daisy chain" connector, but if you encounter excessive noise or hum try a separate power supply.  Riff requires approx. 12mA.

The Whocta Hell is a low octave fuzz, with fully independent controls for the fuzz and the octave. It’s a overdrive/fuzz summed up with a gnarly squared wave low octave, resembling an 8-bit bass synthesizer. Its octave has a range of one or two low octaves, selectable by a toggle switch, and also has its own separate bypass switch. The od/fuzz and octave work fully independently and can be used separately. The magic really happens when you start blending them together and finding your sweet spots. You can create a large range of tones, that can be used on many different ways. It’s up to you to choose between an indie rock lead, a bass synth or super mario bro sounding theme! No matter what you are into, the Whocta Hell will inspire you to create new music. Just do not forget, it is a beeast!