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Write a one-liner about the Meris Mercury7 or cast a vote!
The JHS Pedals Milkman began with a conversation between Josh Scott and Tim Marcus of Milkman Sound. Tim wanted a pedal that could pair perfectly with the tremolo and reverb on his amps, something that country and Americana players could use as their only pedal if desired. Thus the Milkman was born, a perfect combo of slap delay and clean boost that will give you just what you need and not too much. So pour yourself a big glass and tip it back because the Milkman is about to deliver!
Create rich, spacious reverberations with the Ventris Dual Reverb. The Ventris features 14 meticulously crafted reverb engines built on two completely independent 56-bit signal processors, essentially housing a matching pair of high-powered, stereo reverb pedals in a single box. The pedal’s dual DSP architecture provides massive processing muscle, adjustable preset spillover time, and advanced dual reverb effects. Step into a vast realm of ambient space.
The Afterneath sounds a lot like it looks – a wizard in a cave in a box. You are the wizard – or sorceress, if you prefer – and the cave is your instrument’s signal, vast, expansive, and magical. Do you go inside? Roll a D20 to proceed! Upon further listening, it appears as though the reverberations of your voice are in fact a swarm of short digital delays which may be used to create wild and cavernous reverbs, or scattered, short, rhythmic delays with bizarre characteristics. The Afterneath uses silent relay-based soft touch switching. Audio will not pass without power.
The Avalanche Run is a dreamy sonic discovery device with up to 2 seconds of delay time and a lush stereo reverb. It features complete control over delay time, repeats, mix and voice (with the tone control), as well as control over the reverb length and mix. It can run in one of 3 different modes: Normal, Reverse and Swell. In “Normal” mode, the Avalanche Run functions as a straightforward delay and reverb. In “Reverse” mode, the delay line is in reverse and the reverb remains in normal mode. In “Swell” mode, the Avalanche Run reacts to your picking dynamics and adds a volume swell to the entire signal path much like manually raising and lowering the volume of your guitar.
You hear that EVP, bud? It’s the all new, extra spook-tacular, Ghost Echo calling out from beyond the void! The Ghost Echo is our spooky take on the haunted* amp-top spring reverberation units of yesteryear. This creepy analog/digital spring reverb emulation machine boasts a terrifying 30ms – 150ms of pre-delay, controllable via the Attack knob, for everything from a quick rockabilly slapback to viscous pools of ectoplasmic reverberations. When playing staccato, you’ll hear the tortured trails of the reverb, resulting in more of a slapback or echo sound. Legato playing will reveal a massive ambient “depth” that fattens up the sound – and look out, it’s right behind you!
Disaster Transport SR
The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it’s actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.
Crystalline digital delays up to 1.5 seconds without nasty self-oscillation. Luscious reverbs that seem to last forever, like a collect call from beyond the fourth dimension. Ethereal ambient soundscapes that drift off into outer space like a psychedelic shooting star. Over ten thousand pickers, grinners, heshers, singers, shredders, ivory ticklers, trumpeters, bassists, and synthesists use the Dispatch Master to make and receive music in all genres - anything from thick swatches of reverb and delay, to a quick chicken-pickin’ slapback, or even just to add a little bit of room sound to a signal that’s a tad dry.