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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]Chase Bliss Audio Preamp MK II
Pre-commande, livraison prévu pour le 28 Mai 2020
What happens when you combine the DNA of Benson Amps’ Chimera in a box Preamp with a little fuzz, some of Condor’s resonant parametric mids, and full blown preset control from your friends at Chase Bliss Audio? The Preamp MKII. Built in collaboration with Chris Benson from Benson Amps, and known around here as the first Automatone.
This baby has variable diode clipping control (transistor only, silicon, and asymmetrical germanium), fuzz you can swap from open to gated, three mids resonance settings with variable routing you can place before or after the preamp, and three banks of ten presets each that give you thirty presets to set at your leisure.
But what’s an Automatone, you ask? It’s a pedal built with motorized faders that adjust automatically – and a little magically – as you cycle through presets. Check out the video below to learn more and see it in action.
[:en]Chase Bliss Audio Preamp MK II
Preorder, shipping from the 28th of May
What happens when you combine the DNA of Benson Amps’ Chimera in a box Preamp with a little fuzz, some of Condor’s resonant parametric mids, and full blown preset control from your friends at Chase Bliss Audio? The Preamp MKII. Built in collaboration with Chris Benson from Benson Amps, and known around here as the first Automatone.
This baby has variable diode clipping control (transistor only, silicon, and asymmetrical germanium), fuzz you can swap from open to gated, three mids resonance settings with variable routing you can place before or after the preamp, and three banks of ten presets each that give you thirty presets to set at your leisure.
But what’s an Automatone, you ask? It’s a pedal built with motorized faders that adjust automatically – and a little magically – as you cycle through presets. Check out the video below to learn more and see it in action.
[:]
[short_description] => [:fr]Pre-commande, livraison prévu pour le 28 Mai 2020[:en]Preorder, shipping from the 28th of May[:]
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[description] => [:fr]Chase Bliss Audio Blooper
Pre-commande, livraison prévu pour le 17 Mars 2020
Within this little blue rectangle is an intricate machine to explore, unravel, and make your own, with infinite opportunities and outcomes. The dream of blooper was to merge high-quality looping with creative manipulation, allowing you to steer your loops to new and extraordinary places. Record a loop one day, save, then come back and transform it on another.
On the practical end, there is loop saving, eight layers of undo and redo, and external syncing. On the creative end, there are two channels of modifiers, a lo-fi Stability control, and three looping modes. blooper’s heart is Additive mode, which allows you to record sound modifiers directly into the loop like any other overdub.
manual ↓
MIDI manual ↓[:en]Chase Bliss Audio Blooper
Preorder, shipping from the 17th of March
Within this little blue rectangle is an intricate machine to explore, unravel, and make your own, with infinite opportunities and outcomes. The dream of blooper was to merge high-quality looping with creative manipulation, allowing you to steer your loops to new and extraordinary places. Record a loop one day, save, then come back and transform it on another.
On the practical end, there is loop saving, eight layers of undo and redo, and external syncing. On the creative end, there are two channels of modifiers, a lo-fi Stability control, and three looping modes. blooper’s heart is Additive mode, which allows you to record sound modifiers directly into the loop like any other overdub.
manual ↓
MIDI manual ↓[:]
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[description] => [:fr]Old Blood Noise Endeavors Black Fountain Delay V2
La Black Fountain V2 est équipée d'un trimpot interne permettant de régler le volume de la pédale. Le Footswtich est maintenant soft touch et la pédale est équipée d'une entrée pour pédale d'expression.
Le délai Black Fountain reflète une époque où les délais digitaux n’existaient pas, émulant le son des fameux « Oil Can Delay ». Ces délais produisent une légère modulation type « chorus » sur les répétitions ainsi qu’un son chaud et organique.
Le mode Modern émule un delay « Oil Can » classique tel le Morley SDL ou le Fender Echo-Reverb. Les contrôles Time et Repeat sont les même que sur l’original tandis que le réglage Fluid introduit une modulation basé sur le « wobble » induit par le plateau électrostatique des modèles vintages. Le mode Vintage fonctionne de la même façon mais délivre un son plus mordant et « granuleux » . Les modes Modern et Vintage possèdent tous deux un temps de délais maximum de 800ms.
Le mode Organ est basé sur des machines à délais courts tel le Tel-Ray Deluxe Organ Tone ou le Fender Dimension IV. Ces machines vintages possèdent un temps de délais d’environs 20ms, qui est repris ici, mais la Black Fountain va plus loin que les originaux en proposant un réglage de la vitesse et de la profondeur de la modulation. De plus le réglage Mix permet d’obtenir un réglage 100% wet, qui ouvre la possibilité d’un effet vibrato. Le mode Organ possède aussi une reverb inspiré de la reverb à ressort (un seul !) présente dans la Tel-Ray Deluxe Organe Tone. Le mode Organe possède un temps de délais maximum de 211ms.
Caractéristiques de la Black Fountain :
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[description] => [:fr]PettyJohn Electronics Lift MKII
The LIFT MKII draws inspiration from the PreDrive and brings the most loved features to our new single pedal Foundry Series MKII enclosure.
The Buffer You Have Always Wanted
The LIFT MKII operates as an always-on preamp pedal, being either in Buffer mode or Boost mode, switchable via the new soft touch footswitch. The Buffer is a truly state-of-the-art circuit, featuring a single Discrete Opamp powered by our new proprietary dual-rail power supply providing huge headroom and tuned for absolute transparency with frequency range from 20Hz to 25kHz. The discrete opamp gently ‘lifts’ the tonal quality without unwanted color, unlocking every nuance of your guitars tone with a musical, 3D depth.
A Better Boost
The Boost mode, activated via the footswitch activates the “Boost” gain knob and unlocks loads of clean gain. The LIFT MKII boost mode has up to a wopping 30dB of gain off of a standard 9v adapter thanks to our proprietary dual rail power supply that boosts the internal voltage to +/-18v for 36 volts of headroom. This industry leading headroom in a pedal allows us to give the LIFT MKII the most clean gain on the market. It also means every nuance of your guitar and playing gets preserved with absolute fidelity.
Soft Touch Footswitch
The footswitch has been updated from a clunky 4PDT switch on the LIFT V1 to a soft touch, relay based system for the MKII!
Passive, Studio-Grade Filters
We further refined the passive High Cut and Low Cut controls, which sweep from the outer edges of the audible frequency range for exceptional tone shaping. The LOWS control sweeps from 30Hz to 1.5kHz with a gentle, musical 6 db/octave slope. This control can be internally assigned to be always-on with the buffer or to activate only in Boost mode and ships in Boost mode configuration. The HIGHS takes care of shaping the top end with a transparent WIMA cap from 22kHz to 1kHz. The HIGHS filter is only active in Boost mode. You can upgrade the WIMA cap to a more vintage Orange Drop cap for a more colored, warmer top end.
Return Of The Harmonic Drive
Finally, we made a big departure from the LIFT V1 and added the much requested Harmonic Drive circuit from the Handwired PreDrive to the MKII. The Harmonic Drive circuit uses a unique combo of MOSFET and NOS D9E germanium diodes and can be activated via the toggle switch labeled ON or OFF. When engaged, the Harmonic Drive circuit can be blended into the Boost mode via the Drive mini pot. This gives the LIFT MKII the powerful ability to go from pristine cleans to harmonically excited boost to an all out overdrive!
The original Harmonic Drive was to our knowledge the world’s first Discrete Opamp based overdrive and the LIFT MKII starts where it left off. With three times the gain on tap, you can push the Harmonic Drive circuit into full saturation. The Harmonic Drive clipping circuit is a unique among overdrives and characterized by a sweet, natural compression and harmonically rich, organic growl that doesn’t “break’ or “buzz” like most overdrives on the market! We think it’s perfect for setting base tone and cleans up very well with volume or pick attack. Full range and zero compromise audiophile signal path means this is an overdrive unlike anything you have played before.
A Whole New LIFT
We are excited to offer these new features as a big update to the LIFT V1! We think it is packed with versatility and its full range means it can be used with any instrument, not just electric guitar. Give you sound a lift with the LIFT MKII and re-discover your clean tone!
Unique Features
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PettyJohn Electronics goal in creating this pedal was to fill what they saw as a hole in the market for a true studio-grade utility box, a true Swiss Army Knife of tone. There are five main functional uses for the SHIFT:
1 – World Class Buffer/Boost
The design of the SHIFT started with our time proven buffer/boost circuit found in all three versions of the PreDrive and LIFT. This buffer has been meticulously tested and used by thousands of guitarists world wide since it was introduced in 2014. The SHIFT pedal remains always on, so the buffer is always active and the footswitch activates the boost mode with no electrical pop. We use our proprietary 36V internal power supply allowing for massive headroom. This makes having up to 30dB of crystal clean gain on tap possible for the first time in a pedal format from a basic 9v power supply. While this is more gain than most guitar amps can take, this gain amount may come in handy when using some of the other functions outlined below.
2 – Studio Grade Direct Box
The SHIFT’s most significant use may be as a direct box. We call it an active/passive direct box design as it uses our buffer/boost circuit to drive a high quality, USA made transformer to balance the signal. To activate this mode simply switch the output mode mini-toggle to ‘B’ for balanced out mode. This design is paramount and unique in the direct box world because it utilized an active gain stage to drive a transformer, just like high end studio mic preamps. This is often superior to a purely passive or purely active design because it is optimized to offer the advantages of both designs at the same time, while avoiding many of the shortcomings of the aforesaid designs. This direct box has been carefully design for low noise and wide frequency response so it is perfect for bass, electric and acoustic instruments as well as keyboards or even dynamic microphones. Literally anytime you would reach for a DI box, the SHIFT will offer supreme performance and sonic bliss. A ground lift is provided to solve ground loop issues via the mini-toggle labels GND.
3 – Transformer Based Color Box
The output transformer can be activated via the output mini-toggle which, beyond direct box mode, it can also be used with an unbalanced cable to add real analog color to the tone. Perfect for those who need a little more vibe in their buffer/boost, which is designed to be very clean. Also great for amp sims and any other time you just need a little more analog vibe.
4 – High Performance Studio Re-Amp Tool
The balanced line-in mode is designed for two tasks. The first task we designed for is re-amping guitar takes in the studio. When the input mini-toggle is switched to ‘B’ for Balanced-in mode it activates a studio grade Burr Brown Line receiver stage that can be run at unity gain or line level via the PAD switch, which inserts a -20dB pad for accepting true line level signals. The SHIFT in this mode can accept virtually any balanced signal and then convert it to an unbalanced signal for sending to your pedals or an amp with utmost fidelity and transparency. Use the PAD and Gain knob to adjust the gain staging until it is perfect for your use.
5 – No-Compromise Cable Extender System
Using two SHIFT boxes you can effectively make a super high fidelity cable extender system to rival anything currently on the market. The set up is simple. Use one SHIFT in direct box mode at the end of your pedal board. Use a TRS cable to XLR adaptor (available separately) to send you signal up to 300 ft to your amp. At your amp, plug in the other SHIFT in Balanced Line receiver mode with the PAD off and go into your amp. If both SHIFT’s are run in buffer mode there should be essentially zero signal loss up to 300 ft. You can use the Gain on either side to add make up gain if necessary. Due the high headroom and high fidelity parts in the SHIFT, you will hear all of the detail and dynamics of your playing.
Never before has this number of utility operations been provided in a compact pedal format. The SHIFT does all of this with absolutely zero compromise in quality.
Unique Features
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[description] => [:fr]Spaceman Effects Apollo VII
White limited to 66 units
Black limited to 55 units
Inspired by the incredible response to the Voyager I tremolo, we’ve carefully extracted the drive and tone-shaping elements to create the Apollo VII. Familiar sounds and new features collide in this explosive new design.
The simple control interface houses new and 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.
MADE IN PORTLAND, OREGON, USA, EARTH
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.
[:en]Spaceman Effects Apollo VII
White limited to 66 units
Black limited to 55 units
Inspired by the incredible response to the Voyager I tremolo, we’ve carefully extracted the drive and tone-shaping elements to create the Apollo VII. Familiar sounds and new features collide in this explosive new design.
The simple control interface houses new and 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.
MADE IN PORTLAND, OREGON, USA, EARTH
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[short_description] => Inspired by the incredible response to the Voyager I tremolo, we’ve carefully extracted the drive and tone-shaping elements to create the Apollo VII. Familiar sounds and new features collide in this explosive new design.
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[description] => Cooper FX Outward V2
The Outward is a digital sampling device that records audio and plays it back in different ways, depending on the mode. With freezing, stutter, and time stretching effects, there’s a lot the Outward is capable of.
CLOCK: Adjusts the speed at which the DSP chip runs, ranging from 10kHz (CCW) to 60 kHz (CW). When CCW, the sampling time will be extended, but will be noisier and of lower audio quality.
CLOCK ALT: Snaps the clock to fifths and octaves. Turn the alt control all the way CCW to have no quantization, turn past noon to enable the clock to snap to fifths and octaves.
TONE: Low pass filtercontrol, useful for cutting down on noise resulting from decreasing the CLOCK control, and in taming the harshness of the digital signal. **CANNOT BE SAVED TO A PRESET
MIX: Balance between the dry and wet volumes. **CANNOT BE SAVED TO A PRESET
VOL: Volume of the wet signal. **CANNOT BE SAVED TO A PRESET
FRZ|TAP: Can be used to lock the recorded sample into the buffer, preventing it from being overwritten, as well as being used to tap in a tempo. Note, the tap control does not apply to every mode. To initiate tap, press the footswitch at least twice. To override the tap control, simply adjust the knob the tap control is affecting (ie, to turn off tap on SPD but not the SIZE, turn the SPD knob and not the SIZE knob).
The FRZ function is both latching and momentary. If you do a quick press on the button, the FRZ will be latching. Hold the footswitch (>1/2 second) and you will have the FRZ control be momentary.
**A note on tap tempo visualization: The top pushbutton/led will indicate the LFO tempo, the bottom pushbutton/led will blink in time with the SIZE tempo. These will only flash if the tap tempo is assigned to a parameter (ie, if the bottom led is flashing, then you are seeing the SIZE value you tapped in. If the top led is flashing, then you are seeing the LFO speed you tapped in. If one or both of the LEDs are not flashing, then tap tempo is not applied to the specified control)
BYPASS: Relay true bypass control. Can either be momentary or latching, depending on how long the switch is held. Hold for >1/2 second to use it as momentary. Tap it quickly to have the control be latching.
PRST BUTTON: quickly press to scroll up through modes. Preset selection/loading will be entered by holding the button until the push buttons begin to blink in unison.
ALT BUTTON: quickly press to scroll down through the modes. To enter the alt control mode, hold the alt button, wait for the corresponding mode LED to begin flashing, then adjust desired knob’s secondary control.
PRESETS: The Outward has four onboard presets. Enter preset selection/save mode by holding the PRST button until both buttons are blinking in unison. Scroll up/down preset slots (indicated by the three smaller LED’s) using the pushbuttons. When on the desired preset you can either LOAD what you have saved in the selected slot by holding the FRZ footswitch. You can alternatively SAVE to the selected preset slot by holding down the BYPASS footswitch. Mix, Tone, and Volume settings will not be saved into the preset slot.
**NOTE that there are no presets saved on the Outward when initially shipped. All presets will be user created**
EXP/CV: Assign expression or CV to any of the digital controls (SPD|SNS, SIZE, PIT|DIR, CLOCK) by doing the following:
-Insert EXP or CV
– with the EXP at heel down or CV at a minimum, set the minimum value of the exp/cv sweep using the knobs.
– With EXP at toe down or CV at a maximum, set the maximum value of the exp/cv sweep again using the desired knob.
– EX: desire to control SPD with expression (useful in MANUAL direction in Time-Stretch B)
o Insert expression pedal
o With your Heel down, set the knob at the desired position.
o With toe down, select the knob to the desired toe position
o Now the exp is assigned to the SPD knob and will scroll through the buffer with start and end
points dictated by the heel down and toe down positions.
**EXP VALUES CANNOT BE SAVED TO A PRESET
[short_description] => The Outward is a digital sampling device that records audio and plays it back in different ways, depending on the mode. With freezing, stutter, and time stretching effects, there’s a lot the Outward is capable of.
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[name] => Colour Box V2
[slug] => colour-box-v2
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[description] => [:fr]JHS Pedals Colour Box V2
In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard to achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, WIlco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.
I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.
In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!
On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument!
This unit can be heard on dozens of recordings from U2, Wilco, Beck, Mac DeMarco, St. Vincent, The National, Spoon, Collective Soul, Muse, to War on Drugs, Foo Fighters, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott
The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.
The most significant improvements are:
- Addition of an Output transformer
- Safely Passes 48v Phantom Power
- EQ Shift Knobs for precision EQ control
- Hi/Lo Switch for ultra clean headroom
- 100% available clean signal even on acoustic guitar
- Silent switching, aka no "switch-pop"
- Runs on standard 9V DC Neg power
Let's take a look at the features and controls of the Colour Box V2.
The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain.
The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.
The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.
In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.
The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. The center frequencies for the Shift knobs are Treble 10kHz, Middle 1kHz, and Bass 120Hz, while the Treble, Middle, and Bass knobs boost or cut with +/- 17dB of control. If you want to boost high-mid frequencies, turn the Mid Shift knob to 3 o'clock or above and increase the Middle knob above 12 o'clock. If you want to cut upper treble frequencies, turn the Treble Shift knob to 3 o'clock or above and set the Treble knob below 12 o'clock. The Shift knobs give you precision control over the EQ for anything you put through the Colour Box V2.
The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob, which spans from 60Hz to 800Hz with a 6dB per octave slope.
The Colour Box V2 has a combination XLR and 1/4" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR.
The Colour Box runs on standard 9V DC Negative power and measures 5.7” x 3.75” x 1.85"
[:en]JHS Pedals Colour Box V2
In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard to achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, WIlco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.
I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.
In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!
On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument!
This unit can be heard on dozens of recordings from U2, Wilco, Beck, Mac DeMarco, St. Vincent, The National, Spoon, Collective Soul, Muse, to War on Drugs, Foo Fighters, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott
The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.
The most significant improvements are:
- Addition of an Output transformer
- Safely Passes 48v Phantom Power
- EQ Shift Knobs for precision EQ control
- Hi/Lo Switch for ultra clean headroom
- 100% available clean signal even on acoustic guitar
- Silent switching, aka no "switch-pop"
- Runs on standard 9V DC Neg power
Let's take a look at the features and controls of the Colour Box V2.
The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain.
The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.
The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.
In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.
The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. The center frequencies for the Shift knobs are Treble 10kHz, Middle 1kHz, and Bass 120Hz, while the Treble, Middle, and Bass knobs boost or cut with +/- 17dB of control. If you want to boost high-mid frequencies, turn the Mid Shift knob to 3 o'clock or above and increase the Middle knob above 12 o'clock. If you want to cut upper treble frequencies, turn the Treble Shift knob to 3 o'clock or above and set the Treble knob below 12 o'clock. The Shift knobs give you precision control over the EQ for anything you put through the Colour Box V2.
The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob, which spans from 60Hz to 800Hz with a 6dB per octave slope.
The Colour Box V2 has a combination XLR and 1/4" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR.
The Colour Box runs on standard 9V DC Negative power and measures 5.7” x 3.75” x 1.85"
[:]
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