Effects and Pedals

Audio Effects and pedals are a critical part of how a musician develops their sound signature sound. Effects are used to alter any sound using various parameters that can be fine tuned to create a desired tone. Commonly used effects are reverb, delay, equalization (EQ), compression, overdrive, distortion and more. As technology continues to advance, musicians are becoming even more creative in shaping their tone by using different combinations of effects with their instruments.

Walrus Audio Julia Analog Chorus/Vibrato on RigShare
Walrus Audio
Walrus Audio

Julia Analog Chorus/Vibrato

The Julia is a fully analog, feature-rich chorus/vibrato packed with a wide array of tonal landscapes begging to be explored. She is able to produce mild smooth chorus, to seasick vibrato and everywhere in between. With controls like Lag, Dry-Chorus-Vibrato Blend, and selectable analog LFO wave shapes, you are able to dial in all types of classic and unique chorus/vibrato sounds; some settings giving a familiar feel while others are not found on traditional chorus pedals. A special feature of the Julia is the Lag control. The Lag knob lets you set the center delay time that the LFO effect modulates from. From smooth and tight modulation at lower settings, to warbling detune at maximum, the Lag knob adds a new dimension to the traditional Chorus/Vibrato landscape. Extended Info While most chorus/vibrato pedals offer a toggle to go between the two effects, we’ve provided a knob to blend between Dry, Chorus, into Vibrato (labeled d-c-v on the pedal). The Dry-Chorus-Vibrato Blend changes the ratio of dry to wet signal sent to the output. At minimum, you will hear no effect. Set it to noon for equal parts dry and wet – the traditional chorus setting. Set it to maximum for 100% wet – the traditional vibrato setting. Explore the ground between minimum and noon for adding slight amounts of movement to your dry signal (also making the Julia great on bass guitar). Explore the ground between noon and maximum for all sorts of unheard chorus/vibrato combinations. The Julia comes in a deep lavender colored enclosure with surf green ink, featuring original artwork of the water mystery, Julia revealing the tip of her hand telling more of her true story.

Justin Carter
Clayton Murray
Ryan Davis
Zach Brobst
Ronnie Smith
Curtis Howard
Angelo Florendo
Josh Mitchell
Rhett Foster
Adrian Ordonez
Lucas Kamal

43 Rigs

Strymon Flint on RigShare
Strymon
Strymon

Flint

The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made it’s way onto countless records and performances—from early surf, swampy bayou blues, spaghetti westerns, film noir soundtracks, to modern day indie rock. There are certain things in life that just belong together—the blend of tremolo and reverb create the perfect pair. Given this storied history, there was no doubt that we wanted to develop a studio-class effects pedal that delivers this classic combination. We carefully studied our favorite classic tremolo and reverb circuits, examined the sonic complexities, and faithfully accounted for every detail in our hand-crafted algorithms. Flint harnesses the complete power of a SHARC DSP to authentically exhibit these details. Flint gives you the soothing, pulsating, and hypnotic effects that were pioneered in vintage amplifier tremolo circuits, along with three classic and completely unique reverb algorithms. You get the sonically complex ’61 Harmonic Tremolo, the swampy and sultry ’63 Power Tube Tremolo, and the sharp and balanced ’65 Photocell Tremolo. You also get the classic ’60s Spring Tank Reverb, the inventive ’70s Electronic Plate Reverb, and the nostalgic ’80s Hall Rack Reverb. With eight parameters to tweak, you get extensive control over the tremolo and reverb characteristics. Go from splashy, pulsing twang, to throbbing, swampy blues, all the way to ambient, trembling, and serene reverberated pads. Couple that with true bypass, and a high quality analog front end and output section, and you have yourself the history of tremolo and reverb in a pedal-board friendly format.

Colton Crosby
Zach Zook
Ronnie Smith
Sam
Podge Cross
Mel Symphonic
Mark Matthewson

40 Rigs

Fulltone OCD V2 on RigShare
Fulltone
Fulltone

OCD V2

The New Fulltone OCD V2 The OCD has received many slight tweaks over the last 12 years, often incorrectly identified as “version 2, Version 3, V4, etc.” In reality there has always been only one version…Version 1, with very slight variations after that making them V1.1 through V1.7. On 6/15/2017 we released a very new OCD, different enough that it warrants a V2 designation, an explanation and warrants a trip to your favorite dealer to give it another listen. Not a subtle change when turned on…not a subtle change when turned off (in E.B. mode). Sonic changes to OCD V2 NEW FEATURE output buffer (when pedal is turned on in True-Bypass mode, or always when in Enhanced Bypass mode) which eliminates it from being influenced by effects that came after it. Translation, your sound remains consistent regardless of placement in today’s more complex signal-chains, loopers, and pedalboards. This buffer also had a positive effect on the sound, it reduced loading on the pedal’s hard-clipping stage, allowing more sustain of both the sound and the overtones. NEW FEATURE Class A configured discrete 2N5457 JFET input section, raising the input impedance to 1 mega ohms (previously 330K) and increasing the dynamics…resulting in significantly better interaction with both single coil and humbuckers. NEW FEATURE Internal switch to choose between ”Enhanced Bypass TM” & True-Bypass, and with no popping sound in either mode. No other company offers EB…I invented it. A downside to True-Bypass: True-Bypass (TB) switching was the ultimate way to achieve a clean signal path for many years. Everything’s different now, most guitarists have elaborate pedalboards with 10 or more pedals being the norm, and tremendous potential for signal and tone loss with the many cables, connectors, and other pedals involved in the chain. There can be so much signal loss that it sounds nothing like the sound of a guitar with a cable straight into the front of a great tube amp. Uninspiring. What’s the pedal industries’ solution to this problem for the last 40 years? Unity-gain buffered bypass…i.e. a couple of Field effect Transistors (FETs) configured as unity-gain buffers ala Boss, Ibanez, etc, etc. What’s the benefit to unity-gain FET buffered bypass? It reduces the loading effect that occurs using long lengths of cable, and you remove the loud “popping” sound when switching the device on and off. What’s the issue with unity-gain FET buffered bypass? Although my ears always told me that it sounded “tinny” and that there was signal loss, with the help of a my favorite Electronic Engineer (using some very expensive test equipment) we recently documented that each unity-gain FET buffer actually cuts the gain somewhere between 0.3 to 0.6 dB. This loss of gain is in the low-Mids and Bass frequencies, resulting in that “tinny” sound now that the highs remained and some of the bass and mids are gone. Now factor in that there are two FETs per pedal required to couple the IN & OUT path, that’s an obvious loss of between 1dB-2dB per pedal. What’s an even bigger issue with this old style unity-gain FET bypass? It kills dynamic pick response, i.e. it kills the difference between picking soft and picking hard…Yes, when the pedal is in bypass! This to me is a deal-breaker, and while I’ve always felt this to be the case, it’s great to be able to actually see it on the scope. What’s the solution? Enhanced Bypass! Configuring both of the switching FET’s Class-A! By configuring a FET for gain (also referred to as wiring it “Class-A“) all the dynamics return (and then some), even if you only configure it with the slightest amount of gain, in this case: 0.3 to .06 dB. People rave about old EP-3 Echoplexes and Ep-3 type boosters, and although they know that they love what it does to the guitar’s sound, they can’t explain why. It’s because of the Class-A FET preamp! With a Class A FET the dynamics get amplified, allowing an even greater range of expression than if you were playing through a guitar and just one cable straight into your amp. The downside with EP-3 preamps is that they throw the signal OUT-of-phase, boost treble, and cut bass. Fulltone’s EB the signal exits the pedal IN-phase and doesn’t change the EQ at all. With OCD V2’s Enhanced Bypass you get this benefit whether the pedal is turned ON or OFF. This means that just having the OCD turned off in your signal chain makes the whole rig sound alive, fresh, and more powerful again. VISUALLY V2 has slightly smaller “OCD” and “Fulltone” logos, along with “Built in the USA” under the Fulltone logo. All Fulltone products are built in the USA, the V2 now says it. Make no mistake, nothing Fulltone is made outside the USA, but please know ALL resistors, knobs, pots, capacitors, switches, etc. for EVERY product in the world are made overseas! And because of that, legally you have to say "Built in USA" instead of "Made in USA." Next, the IN & OUT jacks are placed exactly at the halfway point of the left & right sides on V2, whereas with all previous versions the jacks were located more towards the bottom. Looking at the V2 display box you can see the larger decal and addition of “With internally selectable “True-Bypass” or “Enhanced Bypass.” SOUNDWISE? The stages added to the circuit changed the OCD, there’s no doubt, but it changed for the better. Words some people used to use to describe the OCD: “brash,”--“scooped sounding,”--“Bassy,”--“lacks sustain,”-- “too affected by other pedals”….NO LONGER APPLY. SIDE STORY I love Robin Trower, but I get frustrated when I see him play because he’s always using a (pre-Full-Drive2) 1992 3-knob Fulldrive that he got new from me back then. How does that help me sell new pedals? Recently I sent a V2 OCD to him. Then I get a call: “Mike, this OCD...it’s unbelievable, I like it better than my #1 vintage Full-Drive! It’s not brash like my other OCD’s.” (ouch) So now I’m confused, what does a new OCD have to do with an old Full-Drive? Not much, in my estimation. (Robin continues) “It is so natural, full-bodied, and the opposite of brash! I’m using it on stage, tonight’s the second night! Cheers!” Night & Day difference? You be the judge. Again I strongly suggest you try one at your favorite dealer, and then let me know what you think. They are at dealers now.

Adrian Ordonez
Dave DiLeo
Kennen lock
Marc
Darius Oon
Josh Mitchell
Matt Gardner

39 Rigs

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