[WANDS] Hiroshi Shibasaki's equipment summary [amps, guitars, effects]

Hiroshi Shibasaki started playing the guitar when he was in junior high school.
From the beginning, he had a strong desire to pursue his own sound, not just as a hobby, and from an early age he was interested in combining a musical ear with expressive fingertips.

After graduating from high school, he decided to seriously pursue a career in music and began working towards becoming a professional.
He had been working as a session guitarist since his late teens, and from the late '10s to early '80s he built his career mainly in studios and live music venues in Tokyo.

What he has consistently pursued since then is "sound contour," "mid-range stickiness," and "reproducibility of picking nuances."
This became the foundation of the Shibasaki sound, which would later be strongly reflected in WANDS and al.ni.co.

In 1991, he joined WANDS, a new Being-affiliated band, as their first guitarist.
They produced a string of million-selling hits, including "If I Hold You Tighter," "The Door of Time," and "Until the World Ends...," and became a central figure in the "Being Boom."

At that time, Shibasaki was unusual in Japanese rock music.Studio-style LA soundso,
It features a tone that is edgy without being too distorted, and has a sense of compression.
While the influence of guitarists such as Steve Lukather of Toto, Van Halen, and Michael Landau can be felt, he expresses this seamlessly within Japanese pop music.

In 1993, his guitar solo in "Until the World Ends..." captivated many guitar fans with his exquisite long tones and flowing phrasing.
Taking a different approach from the "fast playing supremacy" that was mainstream at the time, he embodied the combination of "weeping leads" and "riffs that support the band."

In 1996, he left WANDS due to differences in musical style.
They are entering a phase where they delve even deeper into their musicality.

In 1998, he formed al.ni.co with tetsu, a former member of L'Arc~en~Ciel.
With this band, he shifted to a more artistic and introspective style of music, and his guitar arrangements became even deeper.

Their sound, which incorporated elements of shoegaze, UK rock, and alternative music, stood out even in the Japanese music scene at the time.

Shibasaki introduced new equipment and techniques such as 7-string guitars, open tunings, and reverse reverb.
He has established his presence as a guitarist who has the ability to "control the atmosphere."
During live performances, they made full use of VHT power amplifiers and rack-mounted delays to perform in a way that "colored" the space.

This period could be described as an intense one in which he pursued "the essence of the sound he wanted to express" rather than commercial success.

In the 2000s, Shibasaki participated in numerous tours and recordings as a support guitarist for Takanori Nishikawa's project TM Revolution.
In addition, in 2005, he joined the rock band "Abingdon Boys School", which was formed with the same members, and clearly demonstrated his aggressive stance as a guitarist.

During this time, his playing became harder;7-string guitar, dropped C tuning, Mesa/Boogie and Fractal AudioNew ideas will be added, such as:
Whereas previously the guitar played a more supporting role in the song, in ABS it has acquired the strength to drive the song forward.

Midrange that doesn't get lost in the blasts, thick riffs, and fast-paced melodic solos.
It could be said that this was the time when he reached maturity as a guitarist.

In 2019, WANDS restarted as the 5th generation.
This was Shibasaki's return to WANDS after about 23 years, and for him it was also a crossroads between returning to his roots and breaking new ground.

He switched to using a signature guitar made by Nishigaki Guitars, which reflected his own wishes.
The amplifier is centered around the Fractal Audio Axe-Fx III, creating a hybrid setup that combines digital and analog.

New songs like "Makka na Lip" are reminiscent of the '90s sound of WANDS, but the arrangements have been reconstructed to fit a tighter, more modern mix.
While Shibasaki Hiroshi acknowledges his past self, he also plays as his current self.

It is not a simple "reproduction," but an "ongoing re-creation," and can be said to be the culmination of his career as a guitarist.

• Solid carved construction with quilted maple top and mahogany back
• 25.5 inch, maple 1P bolt-on neck + rosewood fingerboard, 22 frets
• Suhr Thornbucker x 2 & 6-way Free-way switch for instant switching between various wiring
• Gotoh 510 tremolo and locking pegs, high-rigidity brass saddles for stable pitch
• Machined brass knob/oil + nitro finish, weighs approximately 3.6 kg and is easy to handle

Hiroshi Shibasaki said,One guitar can fulfill the role of a Strat, Les Paul, and TelecasterThis is the first signature model developed with the aim of being "the ultimate guitar for the amps. With a solid attack and strong mids, the contours do not disappear even when distorted heavily, so Shibasaki's fast alternate and sharp cutting are not buried. The 6-way wiring allows for instant transition from a clean half tone to a fat lead with a humbucker in series, which is directly linked to his on-the-spot approach to playing a variety of songs at live performances. During solos, the tuning remains stable even when using the tremolo with bold arm movements, and the dynamic choking + vibrato stand out, which explains why this unit is used as the main guitar.

▼about..Nishgaki Guitars (Style-N Nishgaki Guitars)
Nishgaki Guitars are designed and manufactured by luthier Nishigaki in Miki City, Hyogo Prefecture. Miki City, Hyogo Prefecture is the production area of ​​Banshu Miki Uchihamono, a traditional craft with a history dating back more than 1500 years as "Miki Cutlery". Nishigaki learned traditional woodworking techniques from an early age, learning as if playing in this unique environment. In guitar manufacturing, he mixes traditional manufacturing techniques with innovative methodologies, placing emphasis on the final sound and feel that he imagines. Nishigaki's manufacturing flow begins with designing the materials, parts, structure, etc., as if drawing on the image of the sound.

[Wood material]
Body
Body Structure: Solid
Top: Flame Maple
Center: Alder
Back: Flame Maple

■Neck
Neck Joint: Bolt on
Neck: Hard Maple 1P
Fret board : Honduras Rosewood

Scale: 25.5 inches / 12R 22F

Nut width: 42mm

Finish: Shellac
Color: Nature

[Hardware]

Machine head: Sperzel
PU: Suhr Thornbucker
Bridge: Gotoh 510
Control : 1vol 1tone with coil tap 3way toggle switch

Weight: 3.478 kg
Case: Gig case

The latest signature model, Spira, jointly developed by Nishgaki Guitars and Hiroshi Shibasaki (WANDS), is a guitar that was born from the pursuit of "adding more" to the previous Amnis Novus model.
The body has a flame maple top and mahogany back with a carved top. The neck is a 25.5-inch scale maple one-piece bolt-on, and the fingerboard is Indian rosewood, a classic specification that combines high-frequency clarity with mid-frequency density.

The pickups are two Suhr Thornbuckers. The Free-way switch allows you to instantly switch between various wiring such as series/parallel, allowing you to get a wide range of tones from clean crunch to sticky high gain. The bridge and pegs are Gotoh 2, providing stable tuning and smooth arm movements.

The finish is a rich deep blue lacquer. When directly connected to a tube amplifier, the lustrous overtones stand out, making it a great stage presence. It weighs about 3.8 kg, making it easy to handle, and Shibasaki himself says it is "the ideal guitar that combines aggressiveness and delicacy." It is being used as the main guitar in the latest tour, TIME STEW, and is attracting a lot of attention from fans.

• Roasted alder base and maple base, rosewood fingerboard, 22F stainless steel
• ML Std S x 2 + Thornbucker II H, coil split compatible
• Wilkinson WVS130 2-point tremolo + Suhr locking pegs
• Trans Blue matte, approx. 3.4 kg, limited to 30 pieces

Shibasaki-san was searching for a "Stratocaster shape, SSH, and rosewood fretboard" and finally found this instrument. The not-too-bright rosewood fretboard tone and the fast response of the roasted wood match his crisp cutting and bright leads. He says that the glittering half-tones of this guitar are indispensable for 80s-90s band sound songs such as "Until the World Ends...". By switching to the Super Jumbo F, pitch stability during vibrato has been improved and it can also handle flashy arm movements on stage.

Body Shape: Classic
Body material: Alder
Pickguard: Black Gloss 3-Ply
Neck Material: Roasted Flame Maple
Fingerboard material: Indian Rosewood
Neck Shape: Even C Slim .800″-.880″
Fingerboard R: 10″-14″ Compound
Frets: Jumbo Stainless Steel (.057″x.110″)
Nut: 1.650″, Tusq
Bridge pickup: SSH (raw nickel)
Middle pickup: V60LP (black)
Neck pickup: V60LP (black)
Controls: Volume x 1, Tone x 2
Tuners: Suhr Locking
Bridge: Gotoh 510 2 Post (Solid Saddles – Steel Block)
Accessories: Hardshell Case

This 10 Limited Edition is a 100th anniversary model, limited to 2008 pieces.
The body top is made of angel quilt maple, a special option that sets it completely apart from other models.

In addition to the exquisite quilt with its beautiful, clearly visible grain, the artistic quality is further enhanced by the center bookmatching.

The finish color is Fireburst, and the combination with the finest quilting creates a strong impact reminiscent of a crimson flame, as the color name suggests. The body back is made of carefully selected mahogany, and the color of the body back is Cherry Red, reminiscent of the Les Paul material.

Next, high-quality mahogany is used for the neck, and carefully selected African rosewood is used for the fingerboard, which has a very deep contrast and black grain similar to that of Jacaranda.In addition to being equipped with BFTS, the 12th fret of the fingerboard has a special inlay made of white pearl.

There are also white pearl dot markers on the sides of the fingerboard, a white pearl brand logo on the head, and an optional head with a black finish and gloss finish.

In addition, the neck shape is a Modern Elliptical shape with a thickness of .780-.830, which is thin but extremely strong, and combined with the satin finish, it provides a neck grip that anyone will find easy to play the moment they grab it.

The fingerboard R is 10”-14” compound radius with standard roll, the frets are jumbo size stainless steel, and the technical specifications are 24F.

Features include a 1.650" Floyd locking nut, recessed Floyd Rose tremolo, Sperzel locking tuners, chrome hardware, and a hand-signed signature by John Suhr himself on the back of the headstock, along with engravings unique to the limited edition "Limited Edition 2008" and "084 of 75" models.

As for the sound, the powerful Aldrich pickup is considered one of the best among Suhr pickups, and even with intense distortion, it retains a strong core of the sound and gives off a brilliant edge.

The sound matching with this particular model is particularly excellent, and the deep low mids that remain undiminished when distorted are unique to this model. It also has a very good response, and I think the fact that it reproduces even the most subtle picking nuances is largely due to the influence of this pickup.

Other features include a recessed Floyd Rose tremolo for flexible arm play and stable tuning, heelless cut and cutaway, fingerboard side edge processing, and a satin finish on the neck, all of which are qualities worthy of the high-end name and were conceived with the player in mind, making you realize once again that this is truly a Suhr product.

• Basewood B + maple top, graphite reinforced maple N
• 12–16″R, 22F stainless steel, EVH Alnico II humbucker
• Floyd Rose 1000 + EVH D-Tuna for instant drop D
• Approximately 3.5 kg, arched top + ivory binding

Shibasaki bought it for research purposes, looking for a "Floyd-equipped and Eddie-style tone," and used it exclusively for "We Will Never Give Up" on tour to reproduce the "two-note bend arming."Eddie's cooing in his later yearsHe says that it is close to the '60s,' and is playing an active role in making use of picking nuances to express his tone. The fact that you can instantly switch to Drop D with the D-Tuna also fits well with his live design, which makes use of a variety of tunings between sets.

Neck
HeadstockEVH Wolfgang
Neck Quartersawn Maple
Neck Finish: Hand-Rubbed Satin Urethane
Neck Shape Wolfgang Backshape
Neck Bolt-On with Graphite Reinforcement
Neck thickness: .805″ at 3rd & .890″ at 12th Fret
Fingerboard Radius 12″-16″ Compound Radius (304.8 mm to 406.4 mm)
Fingerboard material: Ebony
Position inlay Pearloid Dot
Number of frets: 22
Truss rod EVH-Branded with Wheel
Truss Rod Nut Heel-Mount Truss Rod Adjustment Wheel
Nut Floyd Rose R2 Locking
Nut width 1.625″ (41.3 mm)
Nut Material: Floyd Rose R2 Locking

Body
BodyBasswood
Body Finish Gloss Urethane
Body Shape Wolfgang
Body Binding 1-Ply Cream
Body material: Basswood

Hardware
Bridge: EVH-Branded Floyd Rose Locking Tremolo with EVH D-Tuna
TREMOLO BLOCK Brass
Pickup cover Zebra
Control KnobsBlack Knurled with White Indicators
SWITCH TIP Black
Hardware Finish Chrome
Tuning Machine EVH-Branded Gotoh
STRING TREESFloyd Rose Retainer Bar
Strings: EVH Nickel Plated Steel (.009-.042 Gauges)
Tremolo arm Floyd Rose 1000 Series Locking
Strap button Oversized

Electronics
Bridge Pickup Direct Mount EVH Wolfgang Humbucking
Neck Pickup Direct Mount EVH Wolfgang Humbucking
Pickup configuration HH
Controls: Volume (500K EVH Bourns Low Friction Pot) with Treble Bleed Circuit, Tone (250K EVH Bourns High Friction Pot)
Switch 3-Position Toggle: Position 1. Bridge Pickup, Position 2. Bridge and Neck Pickups, Position 3. Neck Pickup

• Alder body + maple top / maple N + rosewood fingerboard
• 25.5″・24F stainless steel/17″R, Crunch Lab＆LiquiFire＋Piezo
• Custom JP tremolo (piezo compatible) + Schaller locking pegs
• Deep cutaway and thin body design, approx. 3.7 kg

Shibasaki uses this guitar when he needs a 7-string guitar for supporting TM Revolution, etc. On "GET CHANCE GET GROW," he used it to consolidate a 6-string + baritone into one guitar. The Crunch Lab, which has a pronounced tone even on the low B string, allows for clear riffs without any wild low frequencies, while the Piezo blend ensures clarity in arpeggios. The 1" radius and thin neck allow for easy tracking even with his technical phrases, which often make use of high-speed sweeps and wide stretches.

　This is truly the King of Power Amplifiers. It is a revolutionary masterpiece from VHT (now FRYETTE), which reigns supreme among all the successive standalone power amplifiers, and is said to have never been surpassed. These were developed when VHT was still operating side by side with CAE (Bradshaw) in North Hollywood, and were originally made to order as full-scale professional specifications. It is a top-class machine that is packed with all of VHT's early essence and ideals, and the unit price for a standalone power amplifier was so high that it surpassed the price of a first-class boutique amplifier. However, the sound is truly superb. The "2100" is a 34W stereo model that uses a total of eight EL8s. The surface sound, which is said to be "like a wall" and has a wide range and a finely tuned yet extremely loud tone, will allow you to fully experience the physical impact of sound pressure that only a real amplifier can have. With one hit, you can feel countless glittering sparkles flying around at high speed in the thunderous brown tone through the picking. You are instantly engulfed in a vortex of gorgeous overtones that surge like a wave, and the intense tone is guaranteed to make the hairs on your body stand on end before you can even prepare yourself. The "100" is a 2150W stereo specification of KT88. It is the first standalone power amplifier made by VHT, and it is the unit that made VHT and Flyett's names known to the world. The glittering tone is wrapped in an exquisitely thick feel, and it has a very modern tone, like a transparent magma that is constantly bubbling without heat. It also has a tremendous sound pressure, and the fast-rising bass and thick icicles that suddenly hit you in the head are not muddy at all despite the high power. Although both models are no longer in production, they are still popular on the second-hand market as high-end recording equipment, especially those from the time when the "150" was still labeled "Classic" (the name had already been trademarked at the time of release, so the name had to be changed)...the special limited edition models with mirror panel cases are rare and trade at high prices.

From the late 2010s to the present, Hiroshi Shibasaki has been actively embracing the benefits of digital amp modeling.
In particular, he has used Fractal Audio Systems' flagship equipment, the Axe-Fx III, and back in 2017 he reported on his Twitter that he was trying out the Axe-Fx.
The Axe-Fx III is a world-class amp and effects modeling machine, which Shibasaki uses to recreate and develop the sounds of his own amps from the past.

As he revealed in an interview, "I use EVH (5150 series) amp modeling," which digitally reproduces the brown drive sound inherited from Van Halen while adjusting it to suit his own feel.
Based on the 5150 model with built-in Axe-Fx, the tone is made by boosting the low-mid range to achieve a modern weightiness and punch that is directly linked to the "5th period WANDS sound."
In fact, their sound has a unique modernity and thickness that matches well with songs from the 90s, and it blends in seamlessly when they play a modern interpretation of the classic song "Until the World Ends."

For my current live performances, I mainly use the Axe-Fx III, and when necessary I also use a power amp and speaker cabinet, or output it to a line to the PA.
While modeling has made it possible to make equipment more compact and achieve stable reproduction, Shibasaki also places importance on "the physical power of a real amplifier."
In some cases, he even plays tube amp cabinets on stage, making great efforts to transmit air vibrations to himself and the audience.
Overall, Shibasaki Hiroshi's current amplification environment can be described as a hybrid of digital and analog, which is ahead of its time yet delivers his unique, thick, lustrous guitar sound to the audience without compromising it.

This single unit allows you to achieve ideal settings that were previously impossible without sacrificing sound quality. With incredible freedom that overturns the conventional notion of a switcher, the expressive possibilities of compact effects are thrust into a new dimension. The sophisticated body with expressive power that goes beyond the realm of a utility tool will realize your ideals with amazing flexibility. Once you step on the switch of this product, you will feel a dramatic change in the creative power of compact effects.

-Programmable switching system with 8 loops (+ additional loop for connecting a volume pedal)
- Analog circuit design that keeps the sound pure
- Input/output buffers can be turned on/off individually (output buffer level is variable)
- Highly reliable footswitch (with switching noise mute function)
- Unprecedented flexibility in routing (parallel effect chains are also possible)
- Equipped with a 7-segment LED that shows the patch number and an LCD display that shows the patch name
- Large capacity 800 patch memory, more than enough for touring musicians
- Centralized management of externally controllable effect parameters by storing them in memory
- Fully customizable function assignments for each pedal

■ Main specifications
Number of loops: 8 (effect loop), 1 (volume loop)
- Number of patches: 800
Pedals: Number switches x 8, BANK switches x 2, MEMORY/MANUAL switch, MUTE switch
Nominal input level: IN 1, 2: -10dBu, RTN 1 to 6, RTN 7L, RTN 7R, RTN 8L, RTN 8R, RTN VOL: -10dBu
Input impedance: IN 1, 2: 1MΩ
Nominal output level: SEND 1-7, SEND 8L, SEND 8R, SEND VOL, OUT 1/L, OUT 2/R, TUNER: -10dBu
Output impedance: OUT 1/L, OUT 2/R, TUNER: 1kΩ
・推奨負荷インピーダンス： 10kΩ以上
Display: 7-segment 3-digit LED, 16-digit 2-line (backlit LCD)
Connection terminal:
IN 1, 2 terminals: Standard type
SEND 1-7, SEND 8L, SEND 8R, SEND VOL terminals: Standard type
RTN 1 to 6, RTN 7L, RTN 7R, RTN 8L, RTN 8R, RTN VOL terminal: Standard type
OUT 1/L, OUT 2/R terminals: Standard type
TUNER terminal: Standard type
EXT CTL CTL 1/2, CTL 3/4, CTL 5/6 terminals: XNUMX/XNUMX-inch TRS type
EXT CTL EXP 1, EXP 2 terminals: XNUMX/XNUMX-inch TRS type
CTL IN EXP 1 CTL 1/2, EXP 2 CTL 3/4 terminals: XNUMX/XNUMX-inch TRS type
MIDI terminals (IN, OUT/THRU)
DC IN terminal
Power supply: AC adapter (included)
Current consumption: 400mA
Accessories: AC adapter, instruction manual, "Safety precautions" leaflet, warranty card, Roland user registration card, 5 rubber feet, 2 screws
・Options (sold separately):
Footswitch: BOSS FS-5U, FS-6, FS-7
Expression pedal: BOSS FV-500L, FV-500H, Roland EV-5
-Size: (W)439 mm x (D)137 mm x (H)65 mm
Weight: 2.5 kg

The Xotic Wah XW-1 is based on the world's first wah pedal, the Clyde McCoy Wah. It faithfully reproduces the Italian-made wah from 1967 to 1968 used by artists such as Jimi Hendrix, Jimmy Page, and Eric Clapton. The vocal-like sound, like a human voice, is unique to the Italian wah called Holy Grail Wah. In addition, the XW-1 has flexibility such as a two-band EQ for users who want a more unique wah sound.

The XW-1 maintains a classic sound while incorporating innovative technology, making it an unrivaled wah pedal in terms of reliability.

The DriveStomp BB Preamp boasts overwhelming ease of use, and it is no exaggeration to say that it is the world standard!
If you're unsure about the drive sound you want, you can't go wrong with this model!

By utilizing the BB pre-gain stage, you can create anything from a pure clean boost to a smooth, compressed drive sound, and with some adjustment you can even recreate the tone of a British high-gain amp. The flat tone range that is unique to Xotic allows you to play while taking advantage of the characteristics of the instrument you connect to it.

It has a 30dB+ clean boost and a ±15dB 2-band EQ that allows you to adjust treble and bass, providing a wide range of tone control.
The treble/bass knobs have a center click, so it's easy to find the flat position.
In addition, the ON/OFF switch is a true bypass type, so the input signal is not spoiled when it is OFF.

【SPECS】
True bypass for minimal signal interference when off
All hand wired, handmade in the USA
Designed for use with both AC adapter and 9V battery (DC18V to XNUMXV input)
The position of the DC Jack has been changed from the left side to the top.

Dimensions (W/D/H): 4.39 x 2.38 x 1.98 (112mm x 60mm x 50mm)
Weight: 0.6 lbs. (280g)
Bypass: True Bypass Switching
Power Consumption: 9VDC/6mA
Input Impedance: 1M ohm (min)
Output Impedance: 2k ohms

The RC Booster V2 is a renewed model of the classic clean booster RC Booster. It supports clean boost up to +20db that is faithful to the original sound. It has a two-band EQ of ±15dB. It can also be used as a buffer due to its flat response and rich harmonics.

■ Type: Overdrive
■Controls: Gain 1, Treble, Bass, Volume, Gain 2
■Size (WxHxD): 11 x 6 x 5 cm
■Power supply: Battery (006P), power adapter (sold separately)

The RC Booster V2 is a renewed model of the classic clean booster RC Booster. It supports clean boost up to +20db that is faithful to the original sound. It has a two-band EQ of ±15dB. It can also be used as a buffer due to its flat response and rich harmonics.

■ Type: Overdrive
■Controls: Gain 1, Treble, Bass, Volume, Gain 2
■Size (WxHxD): 11 x 6 x 5 cm
■Power supply: Battery (006P), power adapter (sold separately)

Roger Mayer's signature Voodoo-1 is now available as a classic model in its previous smaller housing.
The size is the same as the earlier model, but it also features a hardwire output terminal that was added to the larger case series.

There are three controls: GAIN, TONE, and OUTPUT.
There are three output terminals: HW OUT 1 and BF OUT 2 & 3.

There are two buffered outputs, so you can use both to act as an active splitter.
It is equipped with both a buffered output and a hardwired output, so you can use it as you like depending on your environment.

<Two types of output>
There are two buffered outputs and one hard-wired output.
You can choose according to your preference and usage environment.

■ Buffer Out (BF OUT)
The high impedance is converted to low impedance through a buffer circuit and then output.
Since it has two outputs, it can also be used as an active splitter.
It is suitable for the following cases:

　Stages susceptible to external noise such as lighting
　When using long cables
　When using a lot of effects
　If you want to prevent deterioration of sound quality caused by the tuner

■Hardwired Out (HW OUT)
When bypassed, the input signal is output without passing through any electronic circuits.

Controls: GAIN, TONE, OUTPUT
●Terminals: INPUT, WH OUT1, BF OUT2, BF OUT3, 9V DC
Power supply: 9V battery
● Compatible power adapter: 9VDC center negative
Dimensions: 116W x 50H x 90D mm
●重量：340g

The world's smallest (3.9 inches wide x 4.1 inches long x 2.3 inches high) yet biggest sounding "Real Vintage UniVibe Clone."
■コントロール
VOLUME: Adjusts the volume. Boost and cut are possible up to ±12dB from the 15 o'clock position.
・INTENSITY: Adjusts the depth of the effect. Turn the knob clockwise to increase the depth, counterclockwise to decrease the depth.
The size will decrease.
・SPEED: Adjusts the speed of the effect.
・CHORUS/VIBRATO SWITCH: Switches between chorus and vibrato.
・VINTAGE/MODERN SWITCH: Switches between vintage mode and modern mode.
・ON/OFF Footswitch: A switch that switches on/off.

INPUT: 1/4" standard mono phone input terminal
■OUTPUT: 1/4" standard mono phone output terminal
■External Pedal: Connect and operate an expression pedal using a 1/4” TRS “stereo” standard phone cable.
■DC INPUT: Powered by a high-quality, regulated 2.1 to 5.5VDC center negative power supply with a 9mm x 18mm plug.

A pedal that is loved by many top pros for its unique "swell"

■ Chorus, a modulation effect

Effectors, which any music lover will be familiar with, are devices that change sound in various ways, including distortion-type overdrives, dynamics-type compressors, harmony-type octavers, volume-type equalizers, synth-type guitar synthesizers, etc. Among the modulation-type effects that change the sound into a wavering sound, there is a type called chorus, which splits the input sound into two, delays one of them while wavering the pitch, and combines it with the other sound to create a unique wavering sound effect.

■Arion's music equipment combines low price and functionality

Many manufacturers have been selling musical equipment that can create various sounds such as choruses for a long time, but among them, Arion's musical equipment is loved by many people, from first-class musicians to amateurs. Its low price makes it easy for many people to use, and it is highly functional, so it is attracting attention for its cost performance. With the spread of the Internet, you can purchase it online without having to go to a specialized shop, so the ease of purchasing is also a reason for the increase in users. Another feature is that it can create not only basic sounds, but also unique sounds.

■Arion Chorus, used by top musicians

The chorus made by Arion is a popular item that can cover a wide range of not only high frequencies but also low frequencies, and has a soft and gentle sound. It is said to be the representative chorus, and has a reputation for being easy to operate, and is used not only by first-class musicians but also by amateur band players. Its most notable features are its functionality and price. Not only is it high quality, but it is also affordable.

The H9 Harmonizer® is a compact yet highly capable StompBox pedal that can run all of the effect algorithms created for the H9, as well as the TimeFactor (delay), ModFactor (modulation), PitchFactor (pitch shift), and Space (reverb) pedals.

The H9 Harmonizer® effects pedal is packed with Eventide's iconic reverb, chorus, delay, modulation, pitch shifting and distortion effects. With the H9, you can not only evoke the soundscapes of legendary albums, but also open the door to the creation of new sounds never heard before. You can even faithfully recreate the iconic sounds used by top artists, engineers and producers, including Steve Vai, Jimmy Page, Frank Zappa, Eddie Van Halen, Richard Devine and Suzane Ciani.

The H9's multi-award winning design features a simple one-touch user interface for easy effects editing and preset selection. Two on-board footswitches let you change presets, adjust tempo or bypass with your foot during live performance. The H2 offers studio-quality sound, stereo I/O and full MIDI compatibility. The free H9 Control app allows you to create set lists and wirelessly edit presets over Bluetooth and USB. The app is available for iOS, Android, Mac and PC.

• Hardware Bypass
• Real-time MIDI Control
• Power adapter included
• MIDI control possible via MIDI terminal and USB MIDI
• Built-in fast and accurate tuner
• Expression pedal and AUX footswitch input
• Tap tempo or MIDI beat sync

Despite its light weight and compact size, it is equipped with completely independent isolated output terminals (9x DC500V/9mA output) and low noise standard output terminals (100x DC3V/1mA output) to supply power to up to 500 systems. The isolated output terminals of the "PT-9D" can supply a temporary current of 5A or more that is required by some digital effects at startup, and can continue to steadily supply up to 6mA of current after startup. This allows it to be used with effects that support DC4V but require a large amount of current (DigiTech WHAMMY DT/WHAMMY 4, Eventide TIME FACTOR/MOD FACTOR/PITCH FACTOR /SPACE, LINE4 DLXNUMX/MMXNUMX/FMXNUMX, Strymon TIMELINE/MOBIUS, etc.).

<Features>
*A feature of the PT series is that the housing is made of Japanese aluminum alloy, the same material used in aircraft parts, which makes it both strong and lightweight.

* Equipped with completely independent isolated output terminals (DC9V/500mA output x 9) and low noise standard output terminals (DC100V/XNUMXmA x XNUMX), allowing power supply to up to XNUMX systems.

*Each DC9V output terminal is stabilized and supplies power to the effects pedal via an independent noise filter and short protection circuit.
*The low-noise standard output terminal has a two-stage noise filter that significantly reduces the noise level. The output voltage is set to approximately 2V, reproducing the condition close to that of a new battery.

*The isolated output terminal is capable of supplying a temporary current of 1A or more that is required by some digital effects processors when they are started up.

*The two isolated output terminals are completely independent and electrically isolated, so noise caused by ground loops does not occur. It also prevents digital noise from being mixed in via the power line.

<Main specifications>
Stabilized DC9V isolated output terminal (@500mA MAX): 2 systems
Stabilized DC9V low noise standard output terminals (@100mA MAX): 6 inputs
Equipped with short circuit protection circuit for each output
Size: 120(W) x 55(D) x 35(H)mm (excluding the height of the rubber feet)
Weight: 190g
Accessories: DC cable 30cm L/L x 4, 50cm L/L x 4, dedicated AC adapter x 1