Benson Germanium Fuzz
Benson Germanium Fuzz $299.00
THE BASICS The Germanium Fuzz is a fuzz pedal. The knobs change the sounds. IMPORTANT: after plugging it into power (9vdc only), it will take 2-3 minutes on average to sound correct. Good time to tune your guitar and grab a beverage. The color of the LED indicator light might change. Don’t turn the internal trimmer. THAT’S IT. Read on only if you want some excellent primary source material for an online fuzz thesis… This pedal is designed around two germanium 2N527 OR 2N404 Germanium Transistors. They have been graded for gain and leakage and carefully matched to sound their best. They are set up in the ubiquitous 60’s circular fuzz topology, and tuned for good sound, and include some additional oddities aimed at solving the issues that prevent more widespread use of Germanium devices....detailed below. THE FIRST FUZZ PEDAL WITH AUTOMATIC THERMAL BIAS TECHNOLOGY The bias of the transistors in this pedal is automatically regulated by a circuit that GENTLY warms the transistors to a preset operating point using analog components, and ensures a consistent sound, no matter the external temperature. When the LED is orange, the transistors are warming up to increase their hFE (transistor gain) and to shift the bias point to the correct voltage. When the LED turns green, the warmer is off because the correct bias and hFE have been set. Expect the LED to toggle back and forth every so often while the pedal is on…that is how you know its working. The heaters will warm the transistors enough to still be effective on a sunny stage, but far cooler than anything that would harm the transistors. This pedal is designed to operate between freezing and 100˚F but might still sound fine outside this range. There are two colors: Studio Black is not meant for direct sunlight, Solar White is fine with it. We have found there is a 20˚F difference between a black pedal and a white pedal in direct sunlight. INPUT IMPEDANCE The low input impedance of the classic two transistor germanium fuzz circuit is both a blessing and a curse….a blessing because it can yield a tight sparkly clean tone when guitar volume is rolled down, and a curse because it sounds nasty (in a bad way) if there are buffers or pedals before it in a signal chain. We went to some extremes to keep the blessing and lose the curse. We installed a class A buffer in the very input of the Germanium Fuzz. This buffer feeds a passive pickup simulator circuit (an audio transformer set up as an inductor, a resistor, and a capacitor). These two additions make compatibility with other pedals possible without losing the desired sound. After the pickup simulator circuit, we have added an “Impedance” control, which simulates rolling down the guitar volume to get that tight sparkly sound…without adjusting your guitar volume….which you can still do and still sounds great. GAIN RANGE The circuit has been tuned to be used as a rich sounding clean boost, an overdrive, all the way up to an aggressive fuzz with some octave overtones. It will sound different, and I think more useful, than the classic versions. There are many colors of tone available with the impedance and gain controls…they are very interactive. This is meant as a “pretty” fuzz a la 60’s-70’s classic rock/psychedelic rock. It is not a spitty, harsh experimental fuzz and more often sounds like an overdrive or distortion until the gain is turned all the way up, and the impedance is turned down. INTERNAL TRIMMER Please don’t turn the internal trimmer. It is precisely set at our factory. Turning the trimmer voids the warranty. The correct trimmer position is marked in case you get one used where a tone lord hath already turnt it. POWER SUPPLY This pedal is for use only with a 9vdc Boss syle center negative power supply...There is no battery. Please do not subject this pedal to more than 9vdc or the pedal or power supply could be destroyed. This pedal draws less than 100ma when the heater is engaged, and far less than that when it is off. It will pull those 100ma instantaneously, which most power supplies have no issue with. With substandard or non standard power supplies it is possible the pedal will start oscillating madly at the heater threshhold, where the LED changes, in which case may we suggest using a current doubler cable, or switching to a higher rated power output. WARRANTY INFORMATION: 2 years excluding modification, trim pot manipulation, or damage.
Alexander Sugarcube
Alexander Sugarcube $199.00
Some like their chorus tones toothache sweet. Others just want a hint of syrupy swirl. And no matter where you fall on that spectrum, Sugarcube delivers. We captured the essence of all our favourite chorus pedals from the 80s, added in a dash of rotary whirl and some crystallized pitch-shifting for good measure — and then wrapped it all up in a pedalboard-friendly package.Of course, you get the MIDI, preset and expression pedal support you’ve come to expect from Alexander Pedals, but look — sugar addiction is real. Consider this your only warning.
Echopark FQ12 Dual Range Bastard
Echopark FQ12 Dual Range Bastard $265.00
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.
-20% sale
Echopark Nightmare
Echopark Nightmare $256.00 $320.00
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
-20% sale
Echopark FREQUENCY 5
Echopark FREQUENCY 5 $280.00 $350.00
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.. 
Echopark EPD-1
Echopark EPD-1 $350.00
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.
-19% sale
Echopark Dual-Harmonic Boost
Echopark Dual-Harmonic Boost $219.00 $270.00
The Echopark Dual-Harmonic Boost This is our 2nd version of the Dual-Harmonic Boost.  The same legendary “Dual Stacked” OD, but modified with OD Boosters on each circuit for the “Maximum” OD. The center tone pot has been replaced with a “Master Volume”, allowing you to crank both OD’s  for maximum distortion, at lower volumes. Because of the insane overdrive, the DHB2 has a 3 Way “Tone Control Switch” ranging  from (Far Left) Low, (Center) Med, (Far Right) High. This switch can be used to filter out unwanted frequency feedback at higher volumes, or a tone cut for playing certain styles of music. Far right knob is OD Gain BOOST 1, Far left knob is OD Gain BOOST 2. True Bypass, 2.1mm 9VDC power in, - Center (Internal 9V Battery Mounts on side).Powder coated aluminum enclosure. HAND MADE IN USA.
Subdecay Super Spring Theory
Subdecay Super Spring Theory $199.00
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.
Subdecay Quasar
Subdecay Quasar $199.00
The Quasar v4 offers eleven modes paired with a simple control surface. An abundance of non-traditional options are on tap. Rhythmic modulation patterns. Sci-fi discombobulation. Envelope speed control. Traditional phaser and rotary tones are in the box too, but you want more, right? Something different? Something that stands out? All analog phaser. Synchronized tremolo and chopper effects. Active volume regulation. This eliminates the drastic volume disparities typical of many phasers. Wide range of traditional and experimental sounds. Subdecay has been designing and building Quasar phasers since 2005. For the new Quasar we explored new territory. We love defying effects conventions and breaking the rules. The Quasar’s next evolution is here and we’ve built in so much more than before. Many of the new features are normally only found in fully digital effects. A wide variety of options are under your control. Pairing the analog and digital world together means there’s no compromise of analog headroom or that organic swirl that digital units just can’t match. Modes & Controls: In most modes the controls do what you’d expect. The offset knob is the exception. The offset knob is mode dependent. It sets anything from the phaser sweep center point to synchronized modulation ratios. Rate: Always controls modulation speed.Depth: Controls modulation depth.Color: Usually controls phaser resonance. In mode 5 it controls a portamento function.Mode: Set to any of the eleven modes. Modes are broken down into four categories: 1-4 Cross modulation (X-MOD)5-6 Step Sequencing (STEP)7-8 Envelope (ENV)9-11 Traditional X-MOD: Cross modulation is our fancy way of saying the effect is modulated two different ways at the same time. 1 & 2 -Triangle + Sine & Triangle + Square:The phaser is modulated by a slow triangle LFO and a faster Sine or Square wave LFO.Offset: Sets LFO ratio to 2, 4, 8, 16 or 32. 3 – X-Fade:A cross fade effect. This is kind of like when the radio DJ fades out from one song and into the next one, but instead this crossfades the phaser effect and the clean signal.Offset: Controls how often the effect crossfades over each cycle of the phases. Set to a ratio of 2, 4, 8, 16 or 32.Depth: Controls the cross fade depth. 4 – Tremolo:Synchronized phaser and tremolo.Offset: Sets tremolo ratio to 2, 4, 8, 16 or 32.Depth: Controls tremolo depth. Step Sequencer: Rather than traditional smooth phasing these modes create rhythmic phaser/filter patterns. 5 – Step Pattern:A stepping pattern based on a triangle waveform.Offset: Sets how far steps skip ahead on the triangle waveform creating repeating patterns.Color: Portamento control. Turn to the left to soften step patterns. Turn all the way to the left and modulation will smoothly glide from each step to the next step creating a myriad of unique wave forms. 6 – RND:Random Phaser sequencer with volume chopper (square wave tremolo)Offset: controls how long the volume is chopped per step. (0 – 50%) Envelope modes: Modulation is manipulated by touch dynamics. 7 – Envelope speed control:A phaser effect where the modulation speed is altered by playing dynamics. (Similar functionality to our Vagabond Tremolo, and (discontinued) Siren Vibrato.)Offset: slows down or speeds up modulation when you hit the guitar strings. 8 – Envelope Phaser:Similar to an envelope filter… but with a phaser.Offset: Controls phaser resting point.Depth: Controls how much playing dynamics modulate the phaser (just like an envelope filter.)Rate: Controls envelope attack and decay speed. Traditional: 9 – Rotary / Vibrato:Inspired by the long discontinued DOD FX22 with a deceptively huge range going from straight tremolo or vibrato, to very present filter/phaser tones.Offset: Controls tremolo depth.Color: Turn to the right for resonance. Turn to the left for a pitch vibrato effect. 10 – Slow Triangle LFO:Long linear phaser sweep perfect for slow speeds.Offset: controls center point of modulation. 11 – Fast Sine LFO:A faster phaser using a sine wave LFO.Offset: controls center point of modulation.
Subdecay Prometheus DLX
Subdecay Prometheus DLX $325.00
Once again we’ve knocked the world of filter pedals off its axis. Autowah, envelope filter, step filter, random sample/hold filter, even a pixelated envelope filter. This one does it all. After a year in development we present The Prometheus DLX. An analog filter with digital control. We made sure to not build in any artificial limitations. The filter sweep goes above and below normal guitar frequencies, and works well with other instruments such as bass and synthesizers. Select between lowpass, bandpass and highpass filters, and virtually unlimited ways to manipulate them. We took the mad science of the original Prometheus and multiplied it, adding features that not only increase the sonic possibilities, but also make it easier to use. The DLX is a re-imagined Prometheus that uses all the knowledge we gained from The Quasar DLX, and our experience making the most exciting filter pedals in the world. We also added some improvements. More resonance? Yep! Tap tempo? You got it! For even more headroom the DLX will operate at 18 volts. There’s even an internal switch to add a dry signal blend to the bandpass filter. (See, we love you bass players too!) While the options are nearly infinite, we made sure to keep things simple enough so that the average guitar player could figure them out in a few minutes. The Prometheus DLX has nine basic functions: Analog envelope – forward and reverse. Step – tap tempo step filter based on 7 LFO shapes. Trigger LFO – tap to trigger one LFO cycle. Manual LFO – Manually control LFO speed. Warp LFO – tap tempo LFO speed with wave shape warp. Pixilated Envelope – sample/hold envelope control. Envelope Trigger – Envelope triggers LFO. Envelope->LFO manual – Envelope drives LFO speed. Fixed sensitivity. Envelope->LFO – Envelope drives LFO speed. Variable sensitivity. In each of these settings, the WARP control and TAP/HOLD serve different purposes to get the most out of each effect. The expression pedal input can be used with any non-envelope functions. Depending on the shape & mode settings the expression pedal has a different effect. For example, in trigger LFO mode the LFO shape is mapped to the expression pedal. Select the ramp wave for a “standard wah” effect. Choose the saw wave for a reverse wah. The triangle/square wave is especially strange. We also made major improvements to the step filter in the DLX. We not only added tap tempo, but the underlying LFO rate is locked to the step rate. If the step rate changes, there is no need to readjust anything to keep the same arpeggiated pattern. The warp knob is used to adjust the ratio of the step rate and the underlying LFO between 1:1 and 1:1.5. This ensures that there are no redundant settings. Notes about The Prometheus DLX: Powered by an external regulated 9VDC to 18VDC adapter with a negative center 2.1mm barrel style plug. Power supply is not included. If using a “daisy chain” power supply all other pedals MUST be negative ground. Current draw is less than 100mA. Length 4.7″ x Width 3.7″ x Height 1.2″ Input impedance- 1M Output impedance- Less than 1K. The Prometheus DLX is hand made in Oregon. Die cast metal enclosures for durability. 3PDT switches for true bypass switching. Red/Green LED indicator. Three-year limited warranty July 2015- Version 1.5 update: The most versatile filter pedal on earth just got better.The improvements include: More consistent settings between 9 and 18 volt operation. Minor changes and smoothing of the analog envelope follower Improved power filtering
Subdecay Octave Theory
Subdecay Octave Theory $199.00
World’s first octave modulator / octave shift pedal. World’s first shepard tone guitar synthesizer. LFO and envelope octave shifting. All analog filter design. Inspired by old school synthesizers and the 8 bit computing era. The first ever guitar synth with octave modulation So what the heck is octave modulation? The octave theory seamlessly crossfades between octaves. Paired with an awesome filter this creates a multitude of possibilities. like 8 bit chiptune sounds, classic guitar synth, super sub bass tones and the world’s first ever shepard tone guitar synthesizer. With great power… An array of knobs covered many early 1980s synthesizers. This gave you the power to create a wide range of sounds. Of course, on some settings the synthesizer wouldn’t make a sound, would go into uncontrollable oscillation, or make weird noises. Sometimes the weird noises weren’t the weird noises you expected. While many guitarists enjoy tweaking and honing their tone most of us don’t have that level of patience for fiddling with a matrix of interactive settings. The Octave Theory strikes the perfect balance giving you the power to create your own sound without endless knob tweaking or (gasp!) a tedious menu driven interface. The Filter: Resonant filter inspired by the Korg MS20. Like the MS20 the resonance knob can push the Octave Theory into oscillation. Most guitar synth pedals won’t let you go there. They think you can’t handle so much raw power. To be fair many of those filter oscillation sounds can get shrill or overbearing. If you keep the filter frequency low you can give your synth tones some growl. Use this power responsibly.  AMP vs. Filter priority and envelopes. ADSR envelopes are a mainstay of synthesizers. While lacking full external ADSR control an internal ADR (Attack/Decay/Release) envelope is generated to control the oscillator output level. (AMP – synthspeak for modulating the oscillator output level.) AMP Priority (white marker): In modes with the white marker the decay knob gives you full control of the AMP decay. In these modes the filter also follows the ADR envelope at a fixed depth. This allows you to make notes decay quickly and gracefully. Turning the knob up allows for longer decay times. Filter Priority (green marker): In green marker modes the filter follows an envelope generated by the strength of the input. (The same way envelope filters work) The depth knob controls how much influence the the input envelope has over the filter. When in filter priority the internal ADR envelope is fixed with infinite decay time. Octave Modulation: Modulate your octaves in four ways. LFO modulation, envelope modulation, shepard tone, or manual mode. LFO: This is where you’ll find the chiptune sounds, especially with the square and double square wave modes.In the triangle, square and double square modes the filter follows the internal ADR and the freq knob. In random Mode the filter follows the LFO. The octave mod knob controls the LFO speed. Envelope: Playing dynamics modulate the octave cross fade.  The octave mod knob controls the envelope’s overall influence.  Shepard Tone:  As you work your way up the guitar neck playing higher notes, the octave cross fade descends. When set = modes playing one octave higher will produce the same note. You can play up the neck forever and arrive at the same pitch whether you are playing an open low E or the high E string on the twelfth fret. In ↓ modes the output pitch will get lower and lower as you play higher up the neck. In all shepard tone modes the oct. mod knob manually controls the octaves from several octaves down to several octaves up. Manual mode: This is most similar to our original guitar synth pedal, the Octasynth, but with the most requested feature added. Instead of the Octasynth’s blend control which only allowed for one or two octaves down, the oct. mod knob takes you from three octaves down to two octaves up.
Subdecay Liquid Sunshine
Subdecay Liquid Sunshine $149.00
An overdrive for guitarists needing their amp to sound great at any volume. The all jFet design stacks well with other overdrives, pushes your tube amp for more sustain, and  most importantly sounds great on its own through a clean amp at any volume.
Old Blood Noise Endeavors Mondegreen
Old Blood Noise Endeavors Mondegreen $199.00
The Old Blood Noise Endeavors Mondegreen pedal is a digital delay hellbent on giving you something different than what you put in.  It’s delay. Into modulation.  And it’s weird.   A three-way toggle switch selects between three modes of modulated delay.STUTTER: A delay with a percussive tremolo on the trails.  WHIRL: A modulated delay adding chorus on the wet signal.  SHEER: A delay with increasing octaves on the repeats. Perhaps it’ll be strange enough in your hands.  Perhaps I’m underestimating your adventurous nature.  You sly dog.  Precocious Pup.  Get out of here.  Go get weird.   9VDC - 2.1mm negative center pin adapter.60 mA draw. The art of the Mondegreen comes from the illustrative ends of Jake Blanchard's mind. Check out more of his excellent work here: http://www.jakeblanchard.co.uk
Old Blood Noise Endeavors Headphone Amp
Old Blood Noise Endeavors Headphone Amp $99.00
Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them.  Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume.  Play whatever you like, you're the only one who can hear.  Or a buddy can plug into the additional Headphone output.  Headphone output is mono out. Two 1/4 Headphone Output jacks allow two users to simultaneously listen. 9VDC ***Not to be used as a normal amplifier pushing cabinets.  Outputs are only intended for Headphone use.***
Old Blood Noise Endeavors Dark Star
Old Blood Noise Endeavors Dark Star $199.00
There's a gentle hum, a soft light somewhere in the darkness.  And it grows.  A little hope that you're not the only one in a vast universe.  Isolated, alone and dying.  When there's truly nothing making noise, what do you hear?  Is it nothing?  Or is it the softness, the growing of a voice that resides below the normal hum and frequency of the universe.  The voice of the Dark Star. The Dark Star is what we would use to create long reverberated pads.  The noises underneath the lead.  The mood setter.  That's the Dark Star.  The way a song feels.  That's because of the Dark Star. At its heart, the Dark Star is a Reverb.  Then the Reverb signal passes through three possible modes:  Pitch, Delay and Crush. CTRL 1 and CTRL 2 correspond with the selected mode.  In Pitch, you've got two independent pitch controls for + and - an octave.  In Delay, you've got the Delay Time and Delay Feedback.  In Crush, you've got a pitch control for +/- an octave and then a control for Bit Crush.  The Mix and Reverb knobs control the mix of dry/wet signal and the decay of the reverb, respectively.   The Dark Star has two footswitches.  The Bypass switch is your standard on/off True Bypass switch.  The Hold switch is a momentary footswitch that when pressed, will lock in whatever note is being played through the reverb effect.  This will sustain as long as the Hold switch is pressed.  If the Mix control is set less than 100% wet, you can continue to play over the sustaining reverb signal. The Dark Star now features an expression out jack and clickless switching.  The output level can be tweaked via an internal trimpot for boost, slight drop, or unity gain. 9VDC - 2.1mm negative center pin adapter.60 mA draw. The art of the Dark Star comes from the magical mind of Jon Carling. Check out more of his excellent work here: joncarling.com