Pedal

Rainger FX have produced the world's first gated delay pedal, the Echo-X. A development based on the original Echo-X pedal from 10 years ago, it's a digital delay, and the repeats can be controlled by the envelope of the guitar signal itself; stop playing and the repeats stop too. This gives the effect of the echo being far more "˜part of the sound', at times feeling like a tightly-edited guitar sample. It makes runaway feedback oscillations far more manageable too "“ each separate phrase can have wild howling feedback, with silence in between, then new feedback on the next phrase. Add to this some real-time control using the Rainger FX Igor controller, and pitch-bent echo swirls take over"¦Despite having four switches, five knobs, three LEDs and a foot controller "“ unbelievably - it's still a mini-pedal. Each Echo-X is supplied with an Igor "“ a dual-sensitivity pressure pad. Lightweight, no moving parts "“ and giving an easy solution to expression on-the-fly.

The Reverb-X really comes into its own in how it can deal with the reverb. It's based on the excitement of plugging an overdrive pedal after a reverb pedal; it's "˜wrong', but everything you play sounds huge and epic, exaggerated and full of texture and detail"¦ Here, an overdrive circuit "“ after the reverb "“ can be blended in via the "˜Distn' knob. Have it totally clean, a bit gritty, quite rough, or dial in a fully burnt-out glow. At all times, however, the input signal is unaffected; if you already use an overdrive pedal, the Reverb-X can add a whole new dimension of distortion to your sound! If your tone is clean however, it stays clean "“ no matter how much distorted reverb you dial in. Usually though, in this situation when you stop playing, the hum from your cable alone would be as loud as the notes you were playing! So you have to have a noise gate involved.

The Stinger Boost: A single-transistor boost featuring rare NOS (New Old Stock) transistors, the Stinger Boost delivers classic midrange honk that cuts through any mix. A switchable silicon and germanium circuit lets you dial in everything from glassy bite to warm, vintage saturation. The germanium mode provides a smooth and warm boost, and the silicon circuit delivers a brighter and hard edged push. The pedal’s single Boost knob controls the magic, offering everything from a subtle push to a full-on vintage-style gain boost.

The Stinger Drive: Inspired by the iconic MXR Distortion+ and DOD250 pedals, the Stinger Drive features Volume and Gain controls to dial in rich, midrange-forward drive with a smoother high end than traditional circuits. Built using a mix of NOS and modern components, this pedal delivers sought-after vintage tone with modern reliability. Combining old-school looks with modern reliability, each pedal is hand-aged and uniquely relic’d, making it look like it has spent 30 years on the road. Open one up, and you’ll see true vintage-style wiring, with all components on full display—just like they did back in the day. NOS transistors; hand-selected components for authentic vintage tone 9-volt operation via external power supply or on board battery Individually hand-aged enclosures for a one-of-a-kind look True bypass switching

Inspired by the incredible response to the Voyager I tremolo, Spaceman has carefully extracted the drive and tone-shaping elements to create the Apollo VII. Familiar sounds and new features collide in this explosive design.The simple control interface houses refined features while offering the highly regarded tone of the original. As a tribute to the Apollo VII, NASA's first three-person space mission, there are three controls: level, gain and tone. Each has been optimized to offer a wide variety of sounds, with up to 40dB of gain on tap. The toggle switch also provides three options: LED clipping, silicon diode clipping, and no diodes. LED clipping offers mid-range focused grit - this is the sound of the Voyager I. Silicon diode clipping provides a more compressed and aggressive sound with a smoother decay tail. With no clipping diodes in circuit, the Apollo VII becomes much more touch-sensitive and will growl and bark with astounding dynamic variation.Hand-wired and built in Portland, Oregon, the Apollo VII features true-bypass relay switching with a soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space. Features: - Three controls: level, gain and tone- Optimized to offer a wide variety of sounds- Up to 40dB of gain on tap- Three option toggle switch: LED clipping, silicon diode clipping, and no diodes

The Aurora is an analog flanger pedal that spans a spectrum of classic-sounding flanger tones to wild new experimental ones. This pedal is loaded with a great number of utilizations for whatever flanger tone you are on the hunt for. The Aurora features three modulation types across five settings accessible via the center knob. Two LFO modes, two tape modes, and one unswept comb filtering mode come together in a pedal that provides you with an enormous amount of freedom to tonally explore. The flanger effect can range from a quirky sweep to a blaring siren easily to cover a large amount of ground. Additional functions include a Trigger switch to uniquely interact with each of the five modes and controls to dial in additional forms of modulation. These settings can bring out some chorus or vibrato-like modulation when keyed in on. The Aurora is a pedal that is begging to be played while you sit back and enjoy your next flanger venture.

The Delta II is a powerful optical harmonic tremolo with extensive tone shaping and rhythmic capabilities. The novel LFO enables its pilot to craft harmonic, and traditional tremolo sounds that stagger, hop, buzz, ripple, and swirl with unparalleled variety using a brilliantly simple interface. Soar through the sonic scenery as evolving rhythms throb and pulse through your consciousness like stars flickering across the cosmos. INTRODUCING THE DELTA II The Delta II is a small form factor harmonic tremolo, with smooth organic tone. Harmonic tremolo is achieved by splitting the input signal into high and low frequency bands, and amplitude modulating them in opposite directions. As the low frequencies pass, the highs are cut, and as the highs fade back into the mix, the lows sink below the horizon. Since one of the frequency bands is always passing, it's less choppy than typical for trem. Morph between harmonic and traditional tremolo with the innovative LAG control, which introduces a variable offset between the LFO’s dual outputs. Combined with the Delta II’s unique voices, this makes for great swirling, phasey tones with endless rhythmic possibilities. YOUR HARMONIC HEARTBEAT The Delta II features a high headroom all analog signal path with expanded tone shaping abilities. The signal is buffered, and subsequently runs into a 2-pole state-variable filter to perform the frequency range split. The high-pass, and low-pass filter outputs, along with the dry signal are routed into the tremolo portion of the circuit. The optical elements in the Delta II make for a smooth rise and decay, with a clean fluid response. Additionally, the VOICE toggle offers three signal path modulation options. High & Dry - highlights top-end shimmer, and emphasises clarity and bite. High & Low - provides a more liquid tonality especially useful for swirling phasey sounds. Low & Dry - excels at dark throbbing low-end presence. Exploration of the DEPTH, FREQ, and RES controls will unearth filtery stabs, slithering vibrato, or robotic rhythms. Volume is set from our shop to unity gain when the effect is engaged, but may be fine tuned via the internal trimpot. Each portion of the Delta II is carefully thought out, and painstakingly executed to be beautifully colored and alive with rhythmic intensity, and effortless shimmer. FALL BEHIND IN PERFECT TIME The LFO of the Delta II is deceptively simple, yet surprisingly versatile. The dual output triangle wave oscillator has a unique ability - Lag. This allows the outputs of the LFO to smoothly lag from 0-180 degrees out of phase while still being in time. What this means is that with LAG control at minimum the two LFO outputs are identical, and at maximum LAG, they alternate in opposing fashion. For traditional tremolo sounds, keep the LAG at minimum, then as you introduce LAG, the LFO outputs diverge, creating infinite shades of harmonic tremolo up to maximum. The middle ranges of this control can thump, pulse, beat, bunnyhop, stagger, and dance in any given instance. For even more temporal animation, LFO RATE or DEPTH may be modulated via expression or CV. Delta II Features Smooth and lush all analog signal path, with 3 distinct voices Harmonic or traditional tremolo with a twist of the LAG control Wide-range LFO capable of slow pulsation to audio-rate madness Flexible filtering for deep and expressive tones 18V capable for high headroom use cases Selectable Expression / CV control of DEPTH or RATE Internal VOLUME trimpot for precise level matching Fixed Filter for tone shaping with DEPTH at minimum TRULY HAND CRAFTED Hand-wired and built in Portland, Oregon, the Delta II features true-bypass relay switching with soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space.

Expand Your Sonic Horizons With Enhanced Modulation And Mixing Capabilities - The Spaceman Effects Artemis Modulated Filter Pedal The Artemis represents a reimagining of one of the oldest, most prominent families of effects: Filter pedals. Featuring a 2-pole state-variable design with high-pass, band-pass, and low-pass outputs and enhanced modulation and mixing capabilities, the Artemis is a new vector to expand your sonic horizons. A host of animation possibilities from conventional to bizarre await you via the 7-mode modulation bus. From there, Artemis offers the unique ability to access each filter response individually or in tandem, presenting an unparalleled level of custom tone shaping ability. Plug in to an Artemis and explore a distant shore of your creative Sea of Tranquility. Simultaneous HP, BP, and LP output Notch filter and custom filter responses possible for phased and vibe-like tones Up to 10dB of boost per output, with infinite cut 15Hz-5kHz corner frequency range Modulation may be disabled for use as a 3 band EQ Additional control via external expression pedal or CV

The Spaceman Effects Sputnik III is a unique all-germanium fuzz featuring vintage Soviet transistors. Offering an uncommonly wide range of fuzz tones, it truly runs the gamut: smooth, gritty, vintage, modern, thick, thin, buzzy, bassy, splatty, sputtery, noisy, velcro-ripping, controlled, or completely off the rails. Astonishingly responsive and versatile, the Sputnik III is ready to transport you into a universe of grit, chaos and corruption.  

The Polaris is a low to medium gain overdrive with a unique set of features. Building on top of an impressive overdrive, the Polaris features a unique filter feature accessible via the Filter control or expression pedal connection. Three filter options allows you to dive in and interact with the Polaris directly and sweep through different filtered voices. The Polaris introduces a distinct layering effect with the Initial control that can be used to mix in your pre-filtered overdrive tone for some fuzzy undertones as you play along. With unique tonal settings and plenty of experimentation to be had, the Polaris invites you to get in on the spacious, overdriven action.

Spaceman Titan II Fuzz Effects Pedal The Titan II Fuzz Machine is a unique discrete circuit using silicon transistors.  Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its cast aluminum shell. Named after the NASA rocket that launched the Gemini manned space missions, the Titan II has arrived to blast your tone into the stratosphere! FUZZ, DISTORTION, OVERDRIVE… The Titan II is a unique discrete circuit using silicon transistors. Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its aluminum shell. At full bore, you will get splatty, nasty fuzz tones; but the wide-range Gain control also delivers great low gain tones that start to crossover into overdrive territory. Furthermore, in-between these extremes exist fuzz-tinged distortion tones as well. SIMPLE CONTROLS, COMPLEX RESULTS For even more tonal variety, the Titan II cleans up nicely with the volume on your instrument, adding additional levels of fuzz textures and expression. The Tone control offers a complex tonal shift, allowing the Titan II to cover an incredible range of tone and texture. The Titan II sounds awesome with standard, bass and baritone guitars, as well as most things you plug into it.  

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.

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.