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Les pédales Spaceman Effects sont la meilleure illustration de l’adjectif « boutique ». Ici, toutes les pédales sont en séries limitées, fabriquées avec des composants (très) haut de gamme, et possèdent des finitions exemplaires. Le son est plus qu’à la hauteur du reste, faisant de Spaceman une marque unique et rare que nous sommes fier de vous proposer.
Avec plus de huit modèles de Big Muff différents, considérés par beaucoup (dont nous) comme les meilleures recréations de ce circuit légendaire, on imagine bien la passion de la marque pour les pédales de Fuzz. D’autres circuits mythiques (Fuzz Face, Tonebender) ou 100% originaux sont aussi proposés par les californiens de Wren and Cuff.
Le succès et la notoriété grandissante des amplis de Tim Marcus, alias Milkman, n’a rien d’un hasard. Inspirés de circuits classiques, les amplis Milkman possèdent leur propre caractère et bénéficient d’une fabrication sans compromis. Allant de 5W à 85W, il y a un Milkman pour toutes les situations.
Bien souvent les guitares axés « gros son » ont un look kitch et/ou caricatural ainsi qu’un son aseptisé. Dunable Guitars casse tous les codes avec des guitares sublimes pour un son chaud et précis. Légères et très agréables à jouer, les guitares Dunable sont capable d’aller du Stoner le plus lourd au Metal le plus extrême en passant par tous les styles aux sonorités puissantes.
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[description] => [:fr]Subdecay M3 3 oscillator monophonic guitar synthesizer
Based on the Korg MS-20, the M3 brings the sounds of 70s monophonic synthesizers without the modular complications.
Instead of dual oscillators, the M3 employs 3 digitally controlled oscillators for super fat synth sounds that never go out of tune.
Eleven oscillator combinations cover string sounds, analog bass, bell tones, fifths and more. The algorithm knob’s eleven settings further shapes the sound controlling everything from the filter, two envelope generators, LFOs, portamento and more.
70s inspired
The 1970s saw a massive expansion of electronic music instruments. Much like early electric guitars some didn’t know what to make of these electronic synthesizers. Some of these electronic noise makers were almost affordable. (insert if you can afford a truck, you can afford a synthesizer meme)
Ease of use and portability improved as well, but MIDI wasn’t coming until 1983. Saving patches usually meant writing them down in a notebook. This was still a vast improvement from earlier interconnected cabinets in studios that needed constant tuning and maintenance and were near impossible to use live.
This era created some of the most iconic synthesizers of all time. We’ve packed the essence of 70s analog monosynth into the M3. Don’t let the simplified controls deceive you. The M3 incorporates the following: (Synth Speak warning)
Control and structure
Three oscillators.
Three LFOs (PWM & pitch for each oscillator, and the filter)
Two envelope generators. (filter & AMP)
Voltage controlled analog resonant filter.
Voltage controlled amplifier
Synths of this era rarely had more than two oscillators per voice. A single LFO was common. Many synthesizers used a single envelope generator to control the filter and the amplifier. So how did we fit all this 70s goodness in a stompbox? We borrowed some tricks from the 80s. As MIDI became a synthesizer standard many of those “analog” synthesizers used digital control. Analog envelope followers and LFOs were replaced with digital technology. The synth world that was still analog moved on from voltage controlled oscillators to digitally controlled oscillators. Often the same processors found in computers were found in synthesizers controlling everything.
User friendly for guitarists-
Essentially the M3 has 121 tweakable patches. The oscillator knob selects between eleven oscillator combinations. The algorithm knob selects filter, amp and LFO settings. The parameter knob allows you to alter each algorithm in different ways.
Oscillators
Each of the M3’s oscillators are capable of sawtooth waves or pulse waves with variable pulse width modulation. One of the LFOs controls the PWM. Another controls the pitch and is used to detune the oscillators for a chorus effect.
Controls:
Oscillators: This knob sets between 11 different oscillator selections.
A B & C Saw wave ensembles: The basis for the string machines of the past. Can also capture some horn sounds.
D E & F Basses: A mix of lower frequency saw and PWM waves.
G Fifth: Two oscillators track the input pitch with one oscillator offset by a 5th for that classic 5th synth sound.
H Major Triad: This is more of an ode to 90s electronic music than the 70s. We won’t judge you for using it!
I octaves: Stacked octave saw waves.
J: Two square waves and upper octave 5th: This was a common way synthesizers attempted to capture bell and chime timbers, or even electric piano.
K Stacked Squares: All three oscillators run squarewaves in unison. Perfect for synth leads.
Algorithms: This controls everything else. Filter and Amp envelopes, LFOs, portamento and pitch follow for the filter. Additionally one or more setting can be tweaked with the parameter knob.
1 Wide open: Parameter controls filter offset. The envelopes are wide open with moderate release. This is an example of one of the most simply synth settings.
2 String Envelope: Parameter controls filter offset. A moderate attack with high sustain and near reverb like release. Works well with string oscillator settings.
3 portamento: Parameter controls filter offset. The oscillators will glide smoothly from note to note. A classic synth lead trick that never goes out of style.
4 Decay: Parameter controls filter and amp decay length from just a blip to two seconds.
5 Decay/sustain 1: Parameter controls filter sustain. Another common synth sound. A quick decay that doesn’t decay all the way.
6 Decay/sustain 2: Similar to #5, but slower and brighter.
7 Fade: Parameter controls decay. Wide downward filter sweep.
8 Vibrato: Parameter controls Filter LFO speed. Slow decay with filter modulation.
9 Fast Modulation: Parameter controls Filter modulation speed into the audio range from roughly 2 octaves down to two octaves up. This creates a faux ring modulation effect.
10 Slow attack: Parameter controls amp attack. like a reverse or swell effect. the notes fade in instead of out.
11 Filter Rise: Parameter controls the rise rate. Each note triggers a deep rising sweep of the filter. The Amp fades out as the rise peaks.
Volume: You know what this one does, right? Turn it up to make it louder.
Resonance: Controls the resonance of the filter.
Parameter: Control varies depending on algorithm setting.[:en]Subdecay M3 3 oscillator monophonic guitar synthesizer
Based on the Korg MS-20, the M3 brings the sounds of 70s monophonic synthesizers without the modular complications.
Instead of dual oscillators, the M3 employs 3 digitally controlled oscillators for super fat synth sounds that never go out of tune.
Eleven oscillator combinations cover string sounds, analog bass, bell tones, fifths and more. The algorithm knob’s eleven settings further shapes the sound controlling everything from the filter, two envelope generators, LFOs, portamento and more.
70s inspired
The 1970s saw a massive expansion of electronic music instruments. Much like early electric guitars some didn’t know what to make of these electronic synthesizers. Some of these electronic noise makers were almost affordable. (insert if you can afford a truck, you can afford a synthesizer meme)
Ease of use and portability improved as well, but MIDI wasn’t coming until 1983. Saving patches usually meant writing them down in a notebook. This was still a vast improvement from earlier interconnected cabinets in studios that needed constant tuning and maintenance and were near impossible to use live.
This era created some of the most iconic synthesizers of all time. We’ve packed the essence of 70s analog monosynth into the M3. Don’t let the simplified controls deceive you. The M3 incorporates the following: (Synth Speak warning)
Control and structure
Three oscillators.
Three LFOs (PWM & pitch for each oscillator, and the filter)
Two envelope generators. (filter & AMP)
Voltage controlled analog resonant filter.
Voltage controlled amplifier
Synths of this era rarely had more than two oscillators per voice. A single LFO was common. Many synthesizers used a single envelope generator to control the filter and the amplifier. So how did we fit all this 70s goodness in a stompbox? We borrowed some tricks from the 80s. As MIDI became a synthesizer standard many of those “analog” synthesizers used digital control. Analog envelope followers and LFOs were replaced with digital technology. The synth world that was still analog moved on from voltage controlled oscillators to digitally controlled oscillators. Often the same processors found in computers were found in synthesizers controlling everything.
User friendly for guitarists-
Essentially the M3 has 121 tweakable patches. The oscillator knob selects between eleven oscillator combinations. The algorithm knob selects filter, amp and LFO settings. The parameter knob allows you to alter each algorithm in different ways.
Oscillators
Each of the M3’s oscillators are capable of sawtooth waves or pulse waves with variable pulse width modulation. One of the LFOs controls the PWM. Another controls the pitch and is used to detune the oscillators for a chorus effect.
Controls:
Oscillators: This knob sets between 11 different oscillator selections.
A B & C Saw wave ensembles: The basis for the string machines of the past. Can also capture some horn sounds.
D E & F Basses: A mix of lower frequency saw and PWM waves.
G Fifth: Two oscillators track the input pitch with one oscillator offset by a 5th for that classic 5th synth sound.
H Major Triad: This is more of an ode to 90s electronic music than the 70s. We won’t judge you for using it!
I octaves: Stacked octave saw waves.
J: Two square waves and upper octave 5th: This was a common way synthesizers attempted to capture bell and chime timbers, or even electric piano.
K Stacked Squares: All three oscillators run squarewaves in unison. Perfect for synth leads.
Algorithms: This controls everything else. Filter and Amp envelopes, LFOs, portamento and pitch follow for the filter. Additionally one or more setting can be tweaked with the parameter knob.
1 Wide open: Parameter controls filter offset. The envelopes are wide open with moderate release. This is an example of one of the most simply synth settings.
2 String Envelope: Parameter controls filter offset. A moderate attack with high sustain and near reverb like release. Works well with string oscillator settings.
3 portamento: Parameter controls filter offset. The oscillators will glide smoothly from note to note. A classic synth lead trick that never goes out of style.
4 Decay: Parameter controls filter and amp decay length from just a blip to two seconds.
5 Decay/sustain 1: Parameter controls filter sustain. Another common synth sound. A quick decay that doesn’t decay all the way.
6 Decay/sustain 2: Similar to #5, but slower and brighter.
7 Fade: Parameter controls decay. Wide downward filter sweep.
8 Vibrato: Parameter controls Filter LFO speed. Slow decay with filter modulation.
9 Fast Modulation: Parameter controls Filter modulation speed into the audio range from roughly 2 octaves down to two octaves up. This creates a faux ring modulation effect.
10 Slow attack: Parameter controls amp attack. like a reverse or swell effect. the notes fade in instead of out.
11 Filter Rise: Parameter controls the rise rate. Each note triggers a deep rising sweep of the filter. The Amp fades out as the rise peaks.
Volume: You know what this one does, right? Turn it up to make it louder.
Resonance: Controls the resonance of the filter.
Parameter: Control varies depending on algorithm setting.
[:]
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[description] => [:fr]Subdecay TremCoder
The TremCoder gives you options but won’t require a masters degree in modular synth madness to operate. A variety of LFOs drive a stereo tremolo/panner and lock into your groove with tap tap tempo.
But wait, where’s the tap tempo switch? External input? Nope. You just tap the bypass switch twice and the tremolo starts on the following beat. Tap up to five times for greater accuracy. When tapping stops the effect turns on like magic. After two seconds simply press the switch once to turn the effect off.
How does stereo work with only one ouput jack? You’ll need a TRS Y cable for stereo panning.
Controls:
Depth: Controls the effect depth.
Speed: Selects ratio for tap tempo in LFO modes. Selects sequences in sequence modes.
Shape: There are 9 LFO shapes and 2 sequence banks
[:]
[short_description] => The TremCoder gives you options but won’t require a masters degree in modular synth madness to operate. A variety of LFOs drive a stereo tremolo/panner and lock into your groove with tap tap tempo.
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[description] => Jackson Audio Belle Starr
The BELLE STARR is the result of a several months-long collaboration with Drew Shirley from the band Switchfoot. If you're familiar with Drew's rig, he has always run super small, low-wattage amps, and run them wide-open to get his signature overdriven sound. The BELLE STARR was designed to recreate these tones.
Not a high-gain overdrive, the BELLE STARR is a low/mid gain overdrive circuit that has the smooth and natural breakup that is characteristic in smaller, non-negative feedback amps.
To make the overdrive as natural-sounding and amp-like as possible, we incorporated a unique clipping circuit (the part of the circuit that distorts the signal) and features MOSFET transistors instead of traditional silicon diodes. When used in a clipping circuit, the MOSFET transistors produce a very smooth and amp-like overdrive.
The overdrive range on the BELLE STARR is so evenly spread out across the range of the GAIN control that it goes from absolutely clean to medium gain with no unusual jumps in the dynamic response.
Over the 8 months that we spent dialing in the BELLE STARR, we have tried it with every variation of amp we could get our hands on. Fender, Marshall, Vox and of course our own Jackson amps. This was done to ensure that the BELLE STARR would work on any amp that you marry it to.
We are very proud of the work that we have done with Drew and believe that the BELLE STARR is a dynamic, expressive and natural sounding overdrive that will fit perfectly into any rig!
VOLUME CONTROL
Sets the overall level for the BELLE STARR. With low GAIN settings and high VOLUME settings, the BELLE STARR acts like a very powerful boost complete with tone controls!
BODY CONTROL
An extremely powerful active EQ, the BODY control adjusts the low frequencies by giving a +/-15dB boost/cut to those frequencies. The BODY control also features a center detent which makes it easier to get back to a neutral or flat response.
DC INPUT
The BELLE STARR can safely run from 9V-18V DC (center negative). Running it at 18V will give increased headroom and dynamic response. Do NOT exceed 18V!
GAIN CONTROL
Controls the gain of your tone and how overdriven the BELLE STARR is. Running the GAIN control low and all other controls at 12:00 will result in a transparent boost that is indistinguishable from your clean tone. Increasing the GAIN control from there adds subtle overdrive and will take you from clean to a perfect emulation of a cranked small amp that is breaking up!
TONE CONTROL
A beautifully voiced passive tone control, the TONE control adjusts the treble frequencies much like the CUT control on a Vox amp. The TONE control also features a center detent which makes it easier to get back to a neutral or flat response.
BYPASS SWITCH
The BYPASS SWITCH is a mechanical true bypass switch.
TECHNICAL SPECS
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[description] => Jackson Audio Bloom V2 - MIDI
The BLOOM from Jackson Audio is a comprehensive dynamic engine that is designed to give guitarists maximum dynamic tonal control in ways never before possible. The BLOOM v2 – MIDI takes everything people love about our original BLOOM and updates it with MIDI!
The BLOOM v2 – MIDI now offers MIDI control over all 6 compression settings, circuit ON/OFF (COMP, EQ, BLOOM) and bloom level; the bloom level can also be expressed via MIDI!
A three-fold device, the Bloom manipulates the dynamics of the instrument by way of precisely tuned optical compression, equalization, boost and sustain circuits which can be activated separately or in tandem with each other.
Keep reading below to learn how the BLOOM has become a modern classic on countless pedalboards!
COMPRESSOR OVERVIEW
As a compressor, the Bloom features an optical limiting circuit that takes its inspiration from compressors designed during the golden age of vacuum tube circuits. Optical compressors as they are called, are known for their transparency and subtlety. While the Bloom can provide a very aggressive response at more extreme compression settings, its real strength lies in its ability to add a gentle sweetening and roundness to the tone as the optical circuit works to polish off any rough edges in the sound.
Because of its natural and touch responsive bloom, the Bloom is ideal for players who typically don’t use compression but want the ‘mastered’ response that optical compression gives a guitarists tone.
The frequency response of the compressor section is flat as a board and does not boost or cut any of your highs or lows. In fact for the demo videos we recorded, Dow Tomlin (Bass Player for Wynonna Judd) used the Bloom on his bass the entire time and loved it! Just like a well-designed compressor should, the Bloom alters the dynamics of the guitar signal and not the tone. A good compressor should be felt and not heard!
DUAL COMPRESSION – AKA SLIDE MODE
During the design phase of the Bloom we consulted with slide master Joey Landreth, of The Brothers Landreth fame, on what an ideal compressor for guitarists as well as slide players would be. After going back and forth with him it soon became clear that to build the ultimate compressor for guitarists we would have to include the option to run two compressors in series with each other to provide the legendary Lowell George slide tone. Lowell George, the bandleader/singer/songwriter/guitarist for the band Little Feat was famous for using two Urei 1176 compressors in series with each other to give his guitar near-infinite sustain while still remaining crystal clean.
When set to compression preset 5 or “Slide Mode” the aux compressor circuit is activated and placed in series ahead of the primary compressor. The tonal result of using two compressors in series is that notes will sustain almost endlessly and oftentimes break out into harmonic feedback while still remaining clear and clean! It ‘feels’ like you have an overdrive pedal on but the tone is still clean with endless sustain!
Hidden inside the Bloom, is an auxiliary compressor circuit that is identical to the main compressor circuit however without externally mounted controls. This aux compressor, which is set with a fast attack of 7.5ms, has two trimmers mounted on the right side of the pedal and are accessible when the cover is removed. These trimmers allow you to adjust the COMP and VOLUME settings of the aux compressor when using compression presets 5 and 6. More on compression presets later.
CLEAN BLEND
When more subtlety is desired from the compression circuit, we have included a BLEND control that allows the player to blend in their clean, unaffected signal back in with the compressed signal. One of the best features of the Blend control is that it allows the player to dial in a really aggressive compression setting and then blend some of their clean signal back in with it. This produces the effect of giving the note a very natural attack while slowly fading in the sustain that comes from running a high compression setting.
COMPRESSION PRESETS
If you’re not a studio engineer, many of the more fully-featured compressors on the market can be really intimidating and overwhelming with knobs for everything including attack, release, ratio, knee, etc. As a guitar player, I typically like to keep things as simple as possible and prefer to
think in terms of which settings would be the most appropriate for the style of music I’m about to play.
Not all players are the same and not all songs require the same compression settings, that’s why we have designed the Bloom to have six compression presets that give the player six distinct options for their attack and release settings. These settings run the gamut from subtle to extreme and allow the player to quickly dial in the perfect compression setting for the next song.
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[description] => [:fr]Walrus Audio EB-10
Véritable optimiseur sonore, l’EB-10 est tout à la fois un préampli, un égaliseur et un booster. Il optimise le son de votre guitare pour vous offrir une qualité de studio dans les conditions du live. Chaque bouton rotatif permet jusqu’à 12 dB d’amplification OU d’atténuation pour les bandes de fréquences Low, Mid et High en fonction de la position des commutateurs. Lorsque le commutateur Boost est actif, une amplification de 10 dB de type MOSFET est ajoutée pour augmenter le punch.
Utilisez l’EB-10 pour compenser les différences de son quand vous passez d’un instrument à faible niveau de sortie à un instrument à haut niveau de sortie. Faites-vous entendre pendant vos solos ou utilisez les presets pour créer trois niveaux de gain différents en combinant les amplifications permises par l’égaliseur et le commutateur Boost ! Offrez un tout nouveau son à votre guitare ou à votre basse grâce aux neuf positions d’égalisation de chaque bouton rotatif.
L’EB-10 propose deux modes d’utilisation : « Live » et « Preset ». En mode Live, la pédale répond à la position momentanée de tous les boutons et commutateurs. Réglez votre son et activez/désactivez la pédale avec l’interrupteur Bypass. En mode Preset, la pédale offre des emplacements pour preset qui permettent de stocker trois sons différents. En mode Preset, la pédale est verrouillée et l’utilisateur peut naviguer dans les presets en appuyant sur l’interrupteur Bypass. Au démarrage, la pédale charge le dernier mode d’utilisation choisi. S’il s’agit du mode Preset, elle rappellera par défaut le preset 1. Passez en mode Preset en maintenant l’interrupteur Bypass enfoncé pendant 3 secondes jusqu’à ce que l’indicateur de preset P1 s’allume. Répétez l’opération pour
quitter ce mode. Vous êtes en mode Live quand tous les indicateurs de preset sont éteints. Consultez le manuel pour savoir comment enregistrer un preset.
Une partie de la recette de la vente de chaque pédale est reversée à www.raicestexas.org.
La pédale EB-10 est disponible au couleurs Prismatic Powders noir mat et crème. Son graphisme est inspiré d’équipements de studio vintage. Design par Tyler Evans.
Les dimensions exactes du boîtier moulé sous pression sont 11,9 x 9,4 x 3,9 cm. Nécessite une tension d’alimentation de 9 V DC (100 mA minimum, centre négatif).
L’utilisation d’un bloc d’alimentation isolé est recommandée pour faire fonctionner les pédales Walrus Audio.
Les blocs délivrant une alimentation en chaîne sont déconseillés. Bloc d’alimentation non fourni.
Caractéristiques
• Préampli, égaliseur 3 bandes et booster MOSFET +10 dB
• Son de qualité studio à utiliser en live
• Adaptez la tonalité et le volume quand vous changez d’instrument
• Offrez un nouveau son à votre guitare ou votre basse
• Égaliseur 3 bandes avec jusqu’à +/-12 dB d’atténuation/ amplification par bande
• 4 réglages d’atténuation ou d’amplification par bande d’égalisation (3, 6, 9 ou 12 dB)
• Bande MID entièrement paramétrique avec réglage de la fréquence centrale et de la pente (facteur Q)
• Booster +10 dB de type MOSFET pour ajouter du punch
• Modes Live et Preset (3 emplacements pour rappeler des réglages différents)
• Une partie de la recette de la vente de chaque pédale est reversée à www.raicestexas.org
• Disponible en noir mat et crème
• Alimentation électrique : 9 V DC, 100 mA
• Dimensions : 11,9 x 9,4 x 3,9 cm
• Fabriqué à la main aux États-Unis[:en]Walrus Audio EB-10
With low, mid, and high EQ bands to boost or cut to your tastes, the Walrus Audio EB-10 pedal is a great way to tailor your guitar tone for any setting. Just a few knob turns brings out the best in any guitar, whether it has humbuckers or single-coil pickups. Guitarists like using the EB-10 pedal as a focused boost too — just engage the boost button for a 10dB MOSFET boost. And with the ability to save and recall three custom presets, the Walrus Audio EB-10 is also perfect for multi-guitar gigs.
The Walrus Audio EB-10 features two operational modes, Live and Preset. In Live mode, the pedal responds to however you've set the knobs and switches, just like any other pedal. In Preset mode, all controls on the pedal are locked besides the footswitch, which becomes a toggle switch for your three presets (the included manual gives detailed instructions on saving your own custom presets). These two modes make it easy to fine-tune the tone of up to three guitars, save them as presets, and then skip between them during a performance without worrying about your settings being changed unexpectedly.
Walrus Audio EB-10 Preamp/EQ/Boost Pedal Features:
- Versatile tone-sculpting pedal for electric guitar
- 3 rotary knobs to boost/cut low, mid, and high frequencies
- Boost switch engages a 10dB MOSFET boost
- Rugged die-cast enclosure
- Requires 9-volt, 100mA-minimum power supply (sold separately)
[:]
[short_description] => [:fr]Véritable optimiseur sonore, l’EB-10 est tout à la fois un préampli, un égaliseur et un booster.[:en]With low, mid, and high EQ bands to boost or cut to your tastes, the Walrus Audio EB-10 pedal is a great way to tailor your guitar tone[:]
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[description] => [:fr]Strymon Iridium
L'Iridium vous offre la réactivité des amplis à lampes, et une émulation HP basée sur des réponses impulsionnelles d’un réalisme et d’un naturel sans précédent.
Vous pouvez également contrôler la réverbération naturel de la pièce à la volée.
Il existe trois types d'amplis, chacun avec trois options d'enceintes différentes qui complètent la signature sonore de chaque l'ampli. Iridium est conçu pour être utilisé
avec des niveaux d’entrée instruments et niveau ligne, et dispose d’entrées et de sorties stéréo.
Avec L’IRIDIUM vous avez un véritable ampli transportable que vous pouvez utiliser,
- Sur un retour d’ampli
- Sur un système PA / Sono classique
- Sur des enceintes amplifiées
- En situation d’enregistrement directement sur votre interface
- Chez vous, tranquillement au casque, en voyage ou partout ou vous le souhaitez
- La partie pré-amplificatino est totalement désactivable si besoin, tout comme la partie simulation HP.
Les différents amplis disponibles couvrent une très large palette de sons.
- un mode Round > Fender Deluxe Reverb
- un mode Chime > VOX AC30TB
- un mode Punch > Marshall Plexi
Chaque mode bénéficie d’une plage de dynamique différente, de son propre spectre de fréquences et d’une dynamique spécifique.
Vous pouvez bien entendu faire évoluer la configuration en chargeant n’importe quelle IR compatible du marché.
Les IRs / Le Cab SIM
La Simulation d’HP intégrée à l’IRIDIUM offre un réalisme et une réponse d’une qualité supérieure à tout ce qui se fait actuellement sur le marché
(Line6 HELIX, KEMPER, FRACTAL). En effet, l’IRIDIUM délivre des réponses impulsionnelles stéréo 24bit 96Khz avec une résolution de 500ms.
Vous pouvez donc y charger les meilleure IRs du genre via le logiciel Strymon Impulse Manager qui vous permet de remplacer, éditer, modifier n’importe
quelle IR chargée dans l’IRIDIUM.[:en]Strymon Iridium
Love your pedals, but hate hauling an amp to practice or play out? The pedal-sized Strymon Iridium gives you the tube staging, tone stack, and touch response of three iconic amplifiers, each with three corresponding cabinet choices, all in a line-level stereo output which you can send straight to FOH. No amp required. Iridium's Class A JFET preamp handles your guitar and stomps just like a true tube amp. Its analog front end feeds a powerful 2-stage DSP processor which carefully approximates the tube bais, harmonic breakup, cone compression, and EQ interaction of some of your favorite front ends. Whether you're playing the blues through chunky American 1x12 or raising the roof through a dimed British high-watt, the Strymon feels and handles much like your favorite stacks and combos. A preset switch gives the Iridium the functionality of a 2-channel amp for clean/dirty applications, with an additional 300 accessible via MIDI switch. Meanwhile, a front headphone jack lets you monitor yourself directly from the stage — no in-ears required.
3 essential tube amps
Strymon's Matrix Modeling technology brings you compelling virtualizations of three iconic tube amps. Here's what's inside:
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[description] => [:fr]Darkglass Electronics Microtubes X Ultra
In 2018 Darkglass Electronics launched their Microtubes X series of versatile multiband drive pedals to great acclaim. The new Microtubes X Ultra rounds out the range and greatly expands on the already immense versatility of the X pedals, for those players that want the ultimate studio or live bass fly rig in a pedal format. Featuring all the great controls that the X Series is known for, allowing users to select exactly what frequencies they want to compress and saturate for the low and treble respectively, Microtubes X Ultra has four major additions providing an additional layer of flexibility, while maintaining the same compact footprint, making it an extremely complete tool for the modern bassist.
Main Features
The low pass-signal (all bass) is left clean and then is processed by the built-in variable compressor. This lets the high frequencies be all crunch, attack and full of rich harmonics, all while mixing back in the undistorted lows to add gargantuan size to the overall mix.
The result is virtually unlimited fullness, size, aggression and definition, regardless of how old the strings are or even if your instrument is just boomy or thin sounding.
• Selectable Clean Channel/ Unique Multiband Bass Distortion
• Pure Analog Signal Path
• Variable LF compressor
• 6-band Graphic EQ
• Balanced XLR output with switchable IR cabinet simulation
• Connect to your PC/Mac to load different Virtual Cabinets (one at a time) via Micro-USB and free ‘Darkglass Suite’ software
• 3.5mm Headphone output and Auxiliary input, perfect for practising etc.
Distorting bass has always been a very challenging engineering endeavour. In order to achieve a punchy and aggressive distortion, that is also full and fat-sounding, you really need to reconcile two contradicting conditions. The tightness comes from attenuating bass frequencies before saturation, which will also result in a very thin signal, however boosting the lows can also result in additional, unwanted fuzz. To solve this paradox, audio engineers have been using multiband distortions in the studio for a few decades now.
With the Microtubes X Ultra, the audio is split by two variable low-pass and high-pass filters at the very start of the signal chain. The high-pass signal (mostly the mid and treble tones) is distorted using CMOS circuitry, just like our other regular Microtubes pedal circuits. The low pass-signal (all bass) is left clean and then is processed by the variable built in compressor. This lets the high frequencies be all crunch, attack and full of rich harmonics, all while mixing back in the undistorted lows to add gargantuan size to the overall mix. The result is virtually unlimited fullness, size, aggression and definition, regardless of how old the strings are or even if your instrument is just boomy or thin sounding.
Microtubes X7 Ultra adds a 6-band graphic equalizer with perfectly tailored mid controls for maximum tonal flexibility. Plus, by equipping the pedal with our award-winning impulse response cabinet simulation module, to the already über versatile multiband distortion engine and graphic equalizer, all helps to make Microtubes X Ultra the complete rig-in-a-box for studio and live performing.
Pressing the Distortion footswitch, selects a Clean channel that bypasses the low pass filter, all while leaving the full range, clean signal, compressor, EQ and cab-sim engaged, so you can now switch from a crystal clean to massive distortion with a simple stomp. In addition, the Auxiliary Input and Headphone Output, with cab sim, makes the pedal perfect for practising. This allows you to connect your PC or mobile device to your pedal to play along with your favourite songs and backing tracks in total silence.
[:en]Darkglass Electronics Microtubes X Ultra
In 2018 Darkglass Electronics launched their Microtubes X series of versatile multiband drive pedals to great acclaim. The new Microtubes X Ultra rounds out the range and greatly expands on the already immense versatility of the X pedals, for those players that want the ultimate studio or live bass fly rig in a pedal format. Featuring all the great controls that the X Series is known for, allowing users to select exactly what frequencies they want to compress and saturate for the low and treble respectively, Microtubes X Ultra has four major additions providing an additional layer of flexibility, while maintaining the same compact footprint, making it an extremely complete tool for the modern bassist.
Main Features
The low pass-signal (all bass) is left clean and then is processed by the built-in variable compressor. This lets the high frequencies be all crunch, attack and full of rich harmonics, all while mixing back in the undistorted lows to add gargantuan size to the overall mix.
The result is virtually unlimited fullness, size, aggression and definition, regardless of how old the strings are or even if your instrument is just boomy or thin sounding.
• Selectable Clean Channel/ Unique Multiband Bass Distortion
• Pure Analog Signal Path
• Variable LF compressor
• 6-band Graphic EQ
• Balanced XLR output with switchable IR cabinet simulation
• Connect to your PC/Mac to load different Virtual Cabinets (one at a time) via Micro-USB and free ‘Darkglass Suite’ software
• 3.5mm Headphone output and Auxiliary input, perfect for practising etc.
Distorting bass has always been a very challenging engineering endeavour. In order to achieve a punchy and aggressive distortion, that is also full and fat-sounding, you really need to reconcile two contradicting conditions. The tightness comes from attenuating bass frequencies before saturation, which will also result in a very thin signal, however boosting the lows can also result in additional, unwanted fuzz. To solve this paradox, audio engineers have been using multiband distortions in the studio for a few decades now.
With the Microtubes X Ultra, the audio is split by two variable low-pass and high-pass filters at the very start of the signal chain. The high-pass signal (mostly the mid and treble tones) is distorted using CMOS circuitry, just like our other regular Microtubes pedal circuits. The low pass-signal (all bass) is left clean and then is processed by the variable built in compressor. This lets the high frequencies be all crunch, attack and full of rich harmonics, all while mixing back in the undistorted lows to add gargantuan size to the overall mix. The result is virtually unlimited fullness, size, aggression and definition, regardless of how old the strings are or even if your instrument is just boomy or thin sounding.
Microtubes X7 Ultra adds a 6-band graphic equalizer with perfectly tailored mid controls for maximum tonal flexibility. Plus, by equipping the pedal with our award-winning impulse response cabinet simulation module, to the already über versatile multiband distortion engine and graphic equalizer, all helps to make Microtubes X Ultra the complete rig-in-a-box for studio and live performing.
Pressing the Distortion footswitch, selects a Clean channel that bypasses the low pass filter, all while leaving the full range, clean signal, compressor, EQ and cab-sim engaged, so you can now switch from a crystal clean to massive distortion with a simple stomp. In addition, the Auxiliary Input and Headphone Output, with cab sim, makes the pedal perfect for practising. This allows you to connect your PC or mobile device to your pedal to play along with your favourite songs and backing tracks in total silence.
[:]
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[description] => [:fr]JHS Pedals Cheese Ball
Il y a longtemps dans les années 90 naissait un fabricant de pédales en Angleterre. Ses idéaux sortaient des sentiers battus et ses sons étaient mystérieux. Malgré une courte existence de seulement quelques années, ses créations sont devenues légendaires et un produit en particulier a eu énormément de succès. Avec des artistes tels que The Edge de U2, Jimmy Page, Radiohead, Gary Moore et bien d’autres, son prix sur le marché de l’occasion a commencé à grimper de plus jusqu’à atteindre 800 Dollars. La Cheese Ball est la reproduction fidèle par JHS Pedals et extrêmement précise de ce circuit original, c’est un hommage à l’une des marques et des circuits les plus fascinants de tous les temps !
La Cheese Ball possède des réglages standards de Volume, Gain et Tone comme sur la plupart des distorsions, mais elle a aussi un sélecteur de mode pour choisir parmi 4 types de gains et de sons bien différents. En position Off, le réglage Tone est désactivé, ce qui donne une distorsion/fuzz brillante et sale. En position 1, le son est creusé dans les médiums pour une saturation ronde typée Big Muff. La position 2 est un son de boost médium qui fera ressortir du mix. Enfin, la position 3 done un fuzz incisif typé gate.
Réglages
Tone, volume, gain, switch off / 1 / 2 / 3.[:en]JHS Pedals Cheese Ball
The JHS Cheese Ball recalls a legendary 1990s-era distortion/fuzz pedal that was used by U2, Jimmy Page, Radiohead, My Bloody Valentine, and Wilco, amongst others. Versatile doesn’t even begin to describe this pedal. From violin-like sustain to red-hot buzz to spitty grind, it will achieve just about any fuzz tone you can imagine. Volume, Gain, and Tone knobs give you plenty of tone-sculpting power, while a 4-position control unlocks all of the Cheese Ball’s schizophrenic personalities. The Cheese Ball is a faithful and accurate re-creation of the original pedal’s circuit — it’s a tribute to one of the most fascinating fuzz pedals of all time. If you only have room for one distortion/fuzz pedal, this is the one to get.
4 modes yield an endless variety of tones
Besides your standard Volume, Gain, and Tone controls, the Cheese Ball also includes a 4-position mode selector knob. In the Off position, the pedal’s Tone knob is disengaged, for a bright, trashy fuzz. Position 1 serves up a mid-scooped, Muff-style sound. Position 2 conjures a cutting, mid-boosted sound. Position 3 delivers a spitty, gated fuzz sound — if this fuzz pedal is cheese, then position 3 is of the Swiss variety. The guitarists at Sweetwater appreciate the endless variety of tones that can be coaxed out of the Cheese Ball.
Re-creation of a cult favorite
The JHS Cheese Ball is a spot-on re-creation of a British fuzz circuit that was all the rage in the 1990s (hint: check out the B-side of Nirvana’s “Love Buzz” — you’ll love the tone). You can find sonic examples of this circuit everywhere — U2’s The Edge used one, as did Radiohead’s Colin Greenwood, Pavement’s Stephen Malkmus, My Bloody Valentine’s Kevin Shields, Wilco’s Jeff Tweedy, and Tool’s Justin Chancellor. And that’s just for starters. Buying one of the originals on the used vintage market could cost in excess of $800. That’s why JHS built the Cheese Ball — it’s a faithful re-creation of one of the most excellent fuzz pedals ever created.
JHS Cheese Ball Distortion/Fuzz Pedal Features:
- Fuzz/distortion stompbox based on a legendary 1990s-era pedal
- Volume, Gain, and Tone knobs give you plenty of tone-sculpting power
- 4-position mode selector unlocks a myriad of fuzz tones
- Off position creates a bright, trashy fuzz
- Position 1 serves up a mid-scooped, Muff-style sound
- Position 2 conjures a cutting, mid-boosted sound
- Position 3 delivers a spitty, gated fuzz sound
[:]
[short_description] => [:fr]La Cheese Ball possède des réglages standards de Volume, Gain et Tone comme sur la plupart des distorsions, mais elle a aussi un sélecteur de mode pour choisir parmi 4 types de gains et de sons bien différents.[:en]The JHS Cheese Ball recalls a legendary 1990s-era distortion/fuzz pedal that was used by U2, Jimmy Page, Radiohead, My Bloody Valentine, and Wilco, amongst others.[:]
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