Pete Thorn's equipment: Amps, guitars, effects

In his late teens, the ambitious Edmonton native packed up his guitar and headed across the border to attend the renowned Musicians Institute in Los Angeles. After graduating, he joined the LA-based band Surreal McCoys and signed with Sony Music Japan. Though Surreal McCoys didn't last, the experience working with the band's lead singer, Frank Symes (who has also played with Don Henley, Mick Jagger, Warren Zevon, Stevie Nicks, etc.) helped the talented newcomer make valuable connections in the Los Angeles music industry that would pay off in the long run.

In 1997, Thorn joined Sparkler (Giant Records), where he also performed with Ami, Kevin Gilbert, and Laura Harding. From 1999 to 2001, he toured extensively in the US, Canada, and Europe with a variety of artists, including Adam Cohen (Columbia Records), Blinker the Star (Dreamworks Records), and Evan and Jaron (Columbia Records). He then joined the pop/rock band Snapdragon (Straightline/Atlantic), with whom he released The Family Jewels.

In 2001, Thorn toured with singer-songwriter John Ondrasik's band Five For Fighting (Aware Records), and the following year joined Canadian alternative rock band Forty Foot Echo, whose self-titled debut album featured the single "Brand New Day," which was featured in the Disney film Freaky Friday, and the single "Save Me," which reached the top 10 at Canadian rock radio.

Adding even more credits to his resume, Thorn has toured and recorded with Grammy™-winning Columbia Records artist Robi Draco Rosa and toured with multi-platinum selling singer-songwriter Jewel in 2006. Additionally, he has written and recorded songs with punk rock diva Courtney Love, including one that appeared on Hole's 2010 album Nobody's Daughter.

In 2006, Thorn began working regularly with renowned producer Linda Perry, demonstrating guitar gear and accessories at her Kung Fu Gardens recording studio in Los Angeles. He has worked on tracks with artists as diverse as James Blunt, Daniel Powter, Alicia Keys, and Pink. In 2007, he joined former Soundgarden/Audioslave vocalist Chris Cornell's solo band, touring extensively in the U.S., Canada, Europe, Australia, and South America in support of the albums Carry On and Scream. He also contributed guitar tracks to Cornell's 2008 album Scream. He then joined Eagles founder Don Henley's solo touring band in 2009. In 2011, he was asked to join Melissa Etheridge on her "Fearless Love" world tour. He worked with Etheridge until 2013, after which he went on an extensive European tour with French superstar Mylene Farmer. And in 2014 and 2015, Peter performed with Japanese rock icon Tsuyoshi Nagabuchi on multiple tours and in an epic career highlight concert on Japan's largest concert stage, Mt. Fuji, in front of over 10 fans!

In 2011, Thorn released his first solo album, Guitar Nerd. The guitar album opener, "Revenge of the Nerd," showcases a solo packed with Thorn's impressive guitar style, sound, and technique, including precision playing, hammer-ons, wah pedals, distortion, fast tapping, and melodic lines. "Into the Ether" showcases a clean, straightforward Stratocaster sound, featuring dynamic fingerpicking, beautiful arpeggios, David Gilmour-esque glissandos, and effortless atmosphere. Thorn's musical range is further expanded on tracks such as "Monster Movie," with its gritty, punk-inspired rock guitar solos and riffs that will have us all doing air guitar.

Inspired by his inner gear geek, Thorn demonstrates guitar gear and accessories on his popular YouTube channel, but if a lifelong passion for playing guitar with some of the world's greatest artists and enjoying all its styles and variations qualifies you as a "newbie," then Pete Thorn is certainly a great guitar newbie.

PeteThorn.comMore translations

It is equipped with a new version of the Wilkinson Locking Tremolo bridge and has a gold top and brown back combination, giving it a high-end guitar with a traditional feel.

Pete Thorn is an all-round session musician. His deep and dynamic playing has covered a wide range of genres, from legendary artists such as Don Henley, Chris Cornell and Melissa Etheridge to tour support for Tsuyoshi Nagabuchi, and his performance sense is currently attracting the most attention from professional musicians. He calls himself a guitar nerd, and his career has not only increased his reputation as a guitarist, but also made his solo debut CD Guitar Nerd a top-selling album.
Over the past decade, he has worked with John Suhr to develop his signature guitar, signature PT100 and PT15 amplifiers, and signature Thornbucker pickups.

This signature guitar is based on the custom-spec Suhr Standard that Pete has used extensively in his studio work and on tour over the past few years, and also features Thornbucker pickups that give it the Suhr style PAF tone, a genuine mahogany body with a plain maple top, a genuine mahogany neck, and a rosewood fingerboard for an old-school feel.
The Standard Dinky Shape has a long-standing reputation for being easy to hold and play, and the Even C Slim neck allows for quick and comfortable fingering. These are specs that are typical of a long-time Suhr fan.

In addition, the pickup layout that can be selected with the 5-way lever switch is somewhat unusual, but the wiring allows you to intuitively switch to the sound that you frequently need when playing.
Furthermore, the tone knob is a push/pull switch, and the bridge hum is switched to parallel wiring. This gives you a low output sound that is not too thin, making it possible to create a sound somewhere between LP and ST. There are times when backing musicians find it difficult to use a thick guitar sound, which is one of the reasons why backing tones, especially those with P90 and Mini Hum pickups, are so popular with musicians, but Pete himself made sure that he could handle professional situations with just this one signature guitar. It's a very well-thought-out assembly that outputs a sound that can be used for any selection in all performances, including lead, solo, and backing.

And in response to Pete's request for no compromise on the details, we used Suhr's first PU escutcheon mount. The gold top and cream escutcheon give it a traditional look.

The bridge is the Wilkinson WLS 130 Locking Tremolo. Developed jointly by Wilkinson and Pete, this bridge is an innovative design that uses a set screw at the top of each saddle to lock the strings in place. The tuning stability is comparable to a double locking system, but the tone and feel are similar to a non-locking two-post bridge. String height and octave can be easily adjusted, without the need to cut the ball ends of the strings. When changing strings, simply thread them through the steel block as usual and lock the set screw, making it easy to work with.

It has a sleek, versatile, high-end design, but also has a rock and roll attitude, making it a truly Peter Thorn Suhr Guitar.

Les Paul Custom contemporary model
The pinnacle of sound, playability and looks, Gibson Custom combines traditional processes with the latest technology and exceptional craftsmanship to create products that evoke history and are innovative for a new era.

This modern version of the Les Paul Custom is based on the maple top and mahogany back body structure that is the specification for after 1968, and is equipped with 490/498 humbucking pickups that are more powerful and easier to use than the custom buckers found on the historic models.

The sharp sound image, fast response, and long sustain produced by the maple top, ebony fingerboard, and deep neck joint will continue to be loved in all music scenes, regardless of genre or type of player, from jazz to hard rock.

The ES-335 was introduced in 1958 as the world's first semi-acoustic guitar, and is a popular model that can be used widely in a variety of genres, including jazz, rock, and pop.

This is the final spaghetti logo model, and one of the most popular vintage models of all time.

Eddie Van Halen's iconic "Frankenstein" is widely considered one of the most famous electric guitars in rock history.

Featuring Eddie's signature red, white and black striped design and a worn look that makes it look like it's been used a lot, this guitar features a basswood Stratocaster-style body and a quarter-sawn maple neck reinforced with graphite.
The back of the neck has an oiled finish, giving you great playability so you can play in comfort for hours, while the 22"-12" compound radius maple fingerboard with 16 jumbo frets is designed to handle fast, aggressive playing styles.

Like Eddie's original, the Frankie features an HSS pickup configuration with an EVH Wolfgang humbucker, a dummy Strat neck pickup, and a dummy 5-way blade selector in the middle position!

The combination of the sturdy and reliable EVH branded Floyd Rose locking tremolo and Floyd Rose locking nut keeps the tuning accurate even during aggressive arm playing.

Other features include a white-skirted Stratocaster-style single volume control knob (written "TONE," of course!), a custom black pickguard, remade chrome hardware, standard strap buttons, and an EVH neck plate, making it a must-have for fans!

Peter Thorn is now a leading figure in guitar sound making and is attracting attention from guitarists around the world.
In order to fully express his sense of tone, honed through supporting legendary artists such as Melissa Etheridge and Chris Cornell, he spent five years developing this ultimate multi-channel amplifier based on the PT100, eliminating all compromises.

The combination of a custom-made Plexi-style transformer and EL-34 power tubes has a response reminiscent of the 1959 SuperLead.
CH1 has a crispy yet glassy clean sound and is one of the highlights of this amp.
When you turn on the CRUNCH switch, a drive tone with a bold sound appears, and when combined with BRIGHT, a low-gain distortion appears. Turning on BOOST further increases the thickness and creates a dense fuzz tone.
This is the first CH1 model that has been released in XNUMX. It is a model that has been designed to be used as a signature model by a musician, and the guitarist's uncompromising response to these requests has earned us great respect for the high level of engineering that went into making this model.
The wide range of tone and gain available on this channel, which does not include a gain amplification circuit, allows for seamless sound making with CH2/CH3.

The high-gain sound of CH2/CH3 means that even when you turn up the gain, turn on BOOST and increase the volume, the distortion remains clear.
CH2 has more conventional dynamics than CH3, and like CH1, it combines BRIGHT and BOOST to move up and down the high gain zone. Furthermore, CH3 has a wider range of highs and lows, allowing you to get a bigger tone with higher resolution.
The Plexi-style transformer keeps the sound axis stable, so even when you combine maximum distortion with a lot of effects, the sound comes through without any distortion.

It has three channels with boost on each channel, a series/parallel selectable effect loop, MIDI functionality, and a four-button programmable foot switch, making it suitable for any situation.

Output: 100W
Tubes: 12AX7 × 6 (Pre-amp), EL34 × 4 (Power Section)
Bias method: Fixed bias
Ch 1 controls: Crunch Switch, Bright Switch, Gain 1, Bass, Middle, Treble, Level 1
Ch 2/3 controls: Bright 2/3 Switch, Gain 2, Gain 3, Bass, Middle, Treble, Level 2, Level 3, Boost Switch, Channel Select Switch
Back Pannel: Power Select Switch, Fuse / Power Entry Module, Standback/Standby Switch, HT Fuse, Speaker Outputs (16Ω, 8Ω, 4Ω), Feedback, Presence, Depth Switch, Effects Loop Return Level, In/Active Switch, In Inst. Switch, Send/Return Jacks, Series/Mix Switch, MIDI IN, MIDI THRU
DIMENSIONS: 72.4cm (w) x 28.6cm (h) x 24.1cm (d)
WEIGHT: 25kg
ACCESSORY: 4-button Programmable Footswitch
FOOTSWITCH DIMENSIONS: 29.2cm (w) x 8.3cm (h) x 4.4cm (d)

■ Features
A groundbreaking amp head with a reactive load and impulse response (IR) built into a tube amp
In addition to the Celestion IR, the IR player is equipped with a reactive load that acts exactly like a speaker cabinet, whose impedance changes depending on the input frequency.
- Enjoy the ultimate tube amp sound in any environment.
In addition, by switching the IR data used for each channel, you can build sound systems that would be difficult to build with an analog system, such as using Fender cabinets for clean sounds, VOX cabinets for crunch, and Marshall cabinets for lead sounds.
- Saves the optimal cabinet data for your sound
　-Each channel can have its own IR assigned
- Great for practicing at home or recording at home
　- By connecting headphones to the front panel and selecting IR, you can output a realistic amp sound even without a speaker cabinet.
　- By connecting a stereo sound source to the Aux input, you can play the amp sound and backing track simultaneously through headphones.
■Specifications
Output: 15 Watts
Front panel
　-Input, Aux Input, Headphone Input, IR Level
　-(CH1) Bright Switch, Gain 1, Bass, Treble, Level 1
　-(CH 2/3) Bright 2/3 Switch, Gain 2, Gain 3, Bass, Middle, Treble, Level 2, Level 3, Channel Select Switch, IRBank Select Butoon, IR Cab Select Button, IR LEDs, Power & Stand By switch
・Back panel: HT Fuse, Mains Fuse, Mains Input, Reactive Load Parallel Output, Reactive Load Disconnected Output, Impedance Selelctor, FX Loop Send, FX Loop Return, Footswitch (TRS) jack, Balanced/Unbalanced Line Out, IR Filter Bypass Button, USB Jack
・Vacuum tube: 6V6GT x 2, 12AX7 x 5
FX Loop: Tube Drive Buffered
・Main fuse: T1.5A/250V (Slo-Blo) – 100VAC
・HT fuse: F.5A/250V (Fast-Blo)
- IR format: .WAV, Mono, 24bit, 48kHz, 20.5ms (IRs longer than 20.5ms will be truncated to 20.5ms)
IR Output Latency: 1.2ms
■Size: 521mm x 209mm x 235mm
■Weight: Approximately 11.2kg

The PT-100 Head is a tube amplifier made for Pete Thorn based on the Custom Audio Amplifiers OD-100. It can be set to a wide range of sounds, from clean to high gain.

This amplifier is made with 3 channels and can be selected from clean to high gain sounds. As for the sound of each channel, 1ch can produce a gorgeous and clear clean sound, or a light crunch to bluesy sound by using the boost switch and bright switch. 2ch can produce a crunch to a thick and solid drive sound. It is also rich in overtones and will not be buried in a band ensemble. 3ch can produce overdrive to high gain sounds, allowing for a long sustain that you don't know when it will cut off. In addition, Gain and Level are installed on each channel, so it is possible to create drive sounds with different nuances. The 2-band EQ of 3/3ch is common, but each channel has a different sound character, so it is very easy to set up.

The rear panel is equipped with Presence control, Feed Back, and Whomp, and Feed Back and Whomp can be used to boost low-mid frequencies, allowing for detailed sound settings. The effect loop can be switched between series and parallel modes, and in parallel mode the effect signal and the dry sound of the amp are blended and output, so by connecting a spatial effect such as Chorus or Reverb, you can add effects naturally without destroying the amp's sound, giving the sound depth. In addition, the included foot switch can be used to switch channels and turn the boost on and off, making it even easier to use. Free The Tone

Voltage: 100V
・Output: 100W
・Tubes: EL34 ×4 (Power Section), 12AX7 ×6 (Pre-amp)
・Control:(CH1) Crunch Switch, Bright Switch, Gain 1, Bass, Middle, Treble,
Level 1, (CH 2/3): Bright 2/3 Switch, Gain 2, Gain 3, Bass, Middle, Treble,
Level 2, Level 3, Bright Switch, Channel Select Switch

A pairing concept derived from the pursuit of the best match between sound systems and tube amplifiers.
Bella is a platform amplifier that brings out the full potential of your system.
Always on the cutting edge by John Suhr

What is a platform amplifier?
This is a new style of amplifier that John Suhr has come up with, in contrast to guitar amplifiers that offer a wide variety of sounds through their multi-channel design and wide range of control knobs.

It is a concept developed by musicians who trust John Suhr.

■ Many musicians use effects (external devices) to shape their guitar sound.

■ By leaving the sound variation to the effects, the amp can be kept as simple as possible, focusing solely on sound quality.

An amp that responds exactly as the musician intended without spoiling the character of the effect.

This is an idea that only John Suhr, who is always surrounded by hot guitarists, could come up with.
That's a platform amplifier.

Specification

Channels: Single
Output: 22/44 Watts
Tubes: 2x6L6GC(Power Section), 3x12AX7(Pre-amp, Phase Inverter and Effects Loop)
Mains Fuse: T2A/250V(Slo-Blo) – 100VAC
HT Fuse: 0.5A/250V (Faxt-Blo)
Front Panel : Input, Boost Switch (2-Position), Bright Switch (3-Position), Volume, Treble, and Presence, Standby/Wattage Selector Switch, and On/Off Power Switch
Back Panel : Mains Input Inlet, Mains Fuse, HT Fuse, Speaker Impedance Selector: (2Ω, 4Ω, & 8Ω), 2-External Speaker Outputs, Effects Loop Return Level, Return and Send Jacks, Send Level, In/Out Switch and Boost Footswitch Jack.
Speaker: Celestion V-Type
Dimensions: W610 x D250 x H495 (mm)
Weight: 23kg

【Feature】
The "HEDGEHOG 50" based on the standard black face circuit for clean sound has evolved into a bold black face. In addition to the attractive classic hot rod American tone, it also has a variety of functions such as a MIDI controllable overdrive section, 4 voicing switches, and series/parallel effect loop. Settings can also be saved as presets and controlled with a foot switch or MIDI controller.

【Main Specifications】
Channel: One
Modes: Two
Output: 50 Watts
Tubes: 2 x 5881 (Power Section), 4 x 12AX7
Bias method: Fixed bias
Front Panel :Input, Volume, Treble, Middle, Bass, Gain, Level, Master, Presence, Bright, Boost, Mid, Deep, Series, Mix, Store, On/Standby and On/Off
Back Panel :MIDI: Thru, In/FS, 2 x Speaker Outputs, Impedance Selector:(4Ω, 8Ω, & 16Ω)
Effects Loop:Return Level, Return, Send, Loop Level (INST/LINE), HT Fuse, Mains Fuse,Mains Input Inlet
Dimensions: 575mm (W) x 267mm (D) x 228mm (H)
Weight: 20 kg

70s Custom Marshall sound by Suhr!!

Like the original, it has 4x EL34 100w, 4 inputs, simple controls, and a master volume on the back. The 3-position power switch has a low-power variac mode that reduces the amount of voltage supplied to the amplifier. It is not just a simple power up/down, but aims to have the same effect as the voltage adjustment using the variac (voltage slider) familiar from EVH, and when set to low, you can get a higher gain and a sense of compression.

CHANNEL I INPUT TOP: High sensitivity and brighter tone than Channel II.
CHANNEL I INPUT BOTTOM: Low sensitivity and slightly warm tone.
CHANNEL II INPUT TOP: High sensitivity and normal/crisp tone response.
CHANNEL II INPUT BOTTOM: Low sensitivity and normal/crisp tone response.

Of course, by linking the channels, you can also mix low frequencies with bright tones.

The master volume is a post-phase inverter control. This type of master volume control allows you to adjust the volume without compromising the tone of the amp, and is designed to be bypassed when full. Hand-wired, with a custom output transformer to reproduce the clear, dynamic PLEXI tone.

This is not a super high gain amp, but it has the British tone that rock legends have been striving for!
Of course, you can see how great it is by the fact that it is still used by people like Pete Thorn today.

SKU:A-SL68
OUTPUT: 100 watts RMS
PREAMP TUBES: 3x 12AX7
POWER TUBES: 4x EL34
FRONT PANEL: OFF/HI/LOW Power Select Switch, Presence, Bass, Middle, Treble, Volume
I, Volume II controls and four inputs
BACK PANEL: Master Volume, two Speaker outputs, Impedance Selector (4Ω, 8Ω, & 16Ω),
HT Fuse, Mains AC Inlet and Mains Fuse
HT FUSE: F 0.5A/250V (Fast-Blo)
DIMENSIONS: 29-1/8″ (W) x 11-5/8″ (H) x 8-1/4″ (D)
WEIGHT: 47lbs

The Super Lead Overdrive has maintained its traditional sound for over 15 years and is already a legendary standard in high-gain tube distortion. Its clear, smooth and tight sound is truly impressive.

■It is also known that Gary Moore and Eric Clapton used it in the 90s. The two channels, normal and overdrive, have independent preamp and master volume controls, and can be instantly switched with a foot switch. The normal channel is equipped with a bright switch and a clean/crunch gain switch, boasting a tone variation that can be said to be essentially three channels.

Power: 100 watts
Two Channel Head with Tube Buffered Effects Loop
Weight: 42 lbs.
Size: 9.5″H x 25″W x 9.5″D
Preamp Tubes: Five 12AX7 / ECC83
Power Tubes: Four 5881 / 6L6

A model equipped with a high-output power amplifier from the Kemper Profiling Amplifier. It can handle recording and live performances with ease. It can also profile not only guitar amps but also bass amps. With just one unit, you can reproduce the finest sound by combining equipment that is considered to be the best in the world.

■Power output: 600W (8Ω) 300W (16Ω)
■The Kemper Profiling Amplifier can capture the sonic characteristics of any guitar amp. You don't have to waste time trying to recreate the microphone placement on the cabinet because you don't know how you set it up. You can get every combination of tone and settings that a tube amp has. It also has a convenient A/B comparison mode so you can always get a sound that sounds just like the original amp. If you've ever used a great-sounding, well-tuned vintage tube amp in the studio, you can create a "profile" from that amp and play with that tone anytime, anywhere.
■"Profiling Technology" is a unique technology that captures the sound and feeling of a specific vacuum tube amplifier. It is completely different from simply providing a patch list of digital amplifiers. Profiling technology allows you to get the sound of a vacuum tube amplifier that is lively, dynamic and multifaceted.
■To profile, simply connect your amp to the Kemper Profiling Amplifier and press the "record" button. Just insert it into the recording line and let it work its magic. The test signal is sent from the Kemper Profiling Amplifier to the amp and recorded on the microphone in front of the cabinet. You don't even need to play the guitar when profiling. In less than a minute, the Kemper Profiling Amplifier will have acquired the DNA of the amp.
■ Equipped with four independent stomp box slots, you can use famous overdrive, distortion, compressor, reverb, multiple delays, LoFi algorithms, beautiful rotary speaker simulator and other effects in a luxurious way. In addition, pedals such as chorus, phaser, and flanger with a rich variety are faithfully reproduced to classic models. For creative sounds, decimators (reducing the bit and sample rate to achieve a sonic effect), ring modulators, and various other special effects are available. Any stomp box can be edited and copied across presets. The slots are equipped with color-changing LEDs, so you can see at a glance which type of effect is being used.
■Dimensions and weight: 37.8W x 17.3D x 21.7Hcm, 6.5kg

A natural compressor that boasts magnificent transparency.

Woodshed Comp is a compressor pedal that has a clear outline and natural tonality regardless of the depth of the compression effect. It can apply compression while maintaining the guitar sound and transients (※), bringing out the original sound of the instrument. And because it has an extremely rich headroom, it boosts the grain of the guitar sound by applying compression and raising the GAIN.

The controls are set to a point that gives Andy a "pleasant" sound no matter what position, including an Attack Speed ​​Switch that allows him to choose from three attack times.

■ Compressor type: VCA (Feed-forward type)
Input impedance: 1MΩ
Output impedance: 1kΩ
Compression ratio: 1:1 – ∞:1
■Power terminal: 9VDC, center pin = 2.1mm / slave diameter = 5.5mm
　*Batteries cannot be used.
■ Reverse voltage protection circuit: Yes
■ Overvoltage protection circuit: Yes
Current consumption: up to 80mA
■Dimensions/Weight: 4.6cm (W) x 9.8cm (D) x 4.8cm (H) / 165g

A rich mid boost like the Rangemaster, an 1176 type compressor and very practical EQ controls all in one unit. The compressor + booster "Unit1" that brings out a rich "resonance" is back in stock!

Inspired by the UREI 1176, the compressor section has a natural yet clearly rich tone, and deliberately only has a "sustain" control, making it possible to easily find the sweet spot without wasting time!
In addition, the boost sound inspired by the legendary Rangemaster not only adds crispness to the sound, but also creates a glossy, extended, and exquisite tone through a synergistic effect with the compressor. The "Range" control allows you to freely adjust the projection of the middle range.

In addition to the Hi/Lo level controls, it is equipped with an "EQ" On/Off switch, allowing you to alternate between a straight tone without EQ return and an equalized tone.

A low-noise, high-quality analog compressor and booster that can deliver a variety of performances depending on how you use it!

A new star is born through a miraculous collaboration between ANALOG.MAN and MXR CUSTOM SHOP!

MXR Duke of Tone Overdrive Rとの共同開発によって再構築しました。
開発にあたってANALOG.MANの主宰者であるアナログ・マイク氏自らがテストを繰り返し、King of Toneのもつクリアで暖かなサウンドを再現しています。

コントロールはオリジナル同様、VOLUME、DRIVE、TONEの3つのコントロール・ノブと、OD/BOOST/DISTスイッチでクリッピング・モードを選択可能。
BOOSTースターまで、幅広い使用が可能。ODモードでは粗さとコンプレッションをもつ極上のクラン深いドライブ・サウンドまで、一台ですべてのトーンをカバーします。
晴らしい効果を発揮します。

・MXR Custom ShopとAnalog.Manのコラボレーション
・自然なトーンとフィーリングを生かし、ギターサウンドに温かみを加えます
・boost / OD / DIST
・他のドライブペダルと組み合わせての使用にも最適

■Current consumption: 6mA
■Bypass: True Bypass
■Power supply: 9VDC (battery powered)

A fuzz distortion pedal designed for smooth, clean solo playing.
The gain stage, which has a wider range of amplification by arranging a JFET and a MOSFET in series, transforms the slightly distorted crunch sound of an overdriven amplifier into a bright and smooth lead tone as the Gain control is turned up, and a high-gain distortion with ample sustain and a thick, loose sound that still maintains clarity and responsiveness to picking.

The PS-5 "Harmonist" is the successor model to the PS-6, and employs a high-performance DSP to dramatically improve sound quality!

Equipped with a total of four modes, the Harmonist is the successor model to the PS-4, born from further technological advances.
On the PS-5, the harmony mode only allowed for a total of two harmonies (the input sound + the effect sound), but on the PS-2 it is possible to create thick harmonies with a total of three voices (the input sound + the effect sound (maximum two voices)).

In pitch shifter mode, pitch shifting of up to ±2 octaves is possible, and it supports both single notes and chords. In detune mode, a pitch-shifted sound with a subtle difference in pitch is added to the input sound, creating a chorus-like effect that adds thickness to the sound. In super bend mode, pitch up and down effects that cannot be achieved with normal guitar arm playing can be achieved while the pedal is pressed, allowing for intense pitch manipulation.

The PS-6 gives you high-quality sound, from classic pitch shift sounds to tricky sounds!

●スペック●
Nominal input level: -20dBu
Input impedance: 1MΩ
Nominal output level: -20dBu
Output impedance: 1kΩ
Recommended load impedance: 10kΩ or more
Power supply: DC 9V manganese battery (9V type)/alkaline battery (9V type), AC adapter (PSA-100: sold separately)
Current consumption: 45mA (DC 9V)

Strymon releases a new studio-class modulation pedal!

It has 12 different modulation sounds with great tones and feelings.
200 different presets and MIDI control are possible.

From studio-quality, glittering chorus sounds to powerful, explosive sounds,
It is equipped with a wide range of modulation sounds that will stimulate the player's creative sensibilities.

This is the 11th new product from the Strymon brand (including the Favorite switch), so it's definitely one to check out!

主な特徴とサウンドデザイン
- 12 studio-class modulation algorithms with detailed and nuanced tones
- Seven types of knob control allow for a wide range of sound making.

ハードウェアとコントロール
・豊富なプリセットをベースに書き換えセーブが可能
・LEDディスプレイがプリセット、 BPM/タイム、パラメーターを表示
MIDI file download
- Metal foot switch for preset selection, effect bypass, and tap tempo

An audio treatment box that solves the "just a little something" concerns of musicians who are particular about sound.

Buffers are installed in the input circuit (front end) of all audio devices as impedance conversion circuits to pass the high impedance signal from guitar pickups to electronic circuits.

In the early 1990s, sound systems, consisting of numerous pieces of equipment such as numerous effects units, guitar amps, and switching systems that control the flow of sound, began to become popular. As a result, buffers became common as products to prevent noise and degradation of sound quality that could result from impedance mismatching and long signal circuits. However, today, in addition to their original use as impedance conversion, buffers have also attracted attention for their unique sound character, and they are now used for subtle sound quality adjustments in sound systems and modeling amps, and sound quality correction in digital wireless systems.

Source Audio ZIO is the first analog product released by a group of cutting-edge digital engineers from the long-established synthesizer manufacturer Kurzweil.

You can choose from four types of tone nuances: "JFET" uses the same Burr Brown op-amp that was used in the buffer circuit of the legendary sound system CUSTOM AUDIO ELECTRONICS 4×4; "LOW-CUT" cuts out the muddy bass; "STUDIO" gives the sound a sense of transparency; and "E-PLEX" uses a tape echo preamp that is favored by many top musicians.

It responds to that "just a little more" or "just a little bit more" feeling that only players who care about sound can understand.
This is a treatment box for subtle but important sounds.

■Best-in-class Burr-Brown™ Op Amps
After testing several well-known models used in overdrive, distortion, and boost pedals, including the classic TL072 and op amps that have been used since the 1970s, we found that other op amp chips were ``too bright,'' ``too thin,'' ``too distorted,'' etc.

The 14-pin Burr-Brown™ OPA chip was chosen for its pure, transparent tone, wide dynamic range, frequency response and overall feel that enables ZIO to achieve its mission of "Make Everything Sound Better!"

■ 4 types of preamp models x 3 types of cable capacitance
The CIRCUIT selector knob (4-way) determines the preamp model that is the axis of the sound, and the TONE toggle switch (3-way) adjusts the difference in sound depending on the length of the cable wiring.

These are combined to create the overall sound of ZIO.

・CIRCUIT (preamp model)
<JFET>
This mode uses a Burr-Brown™ JFET-input op amp that closely resembles the character and operation of a vacuum tube.

The JFET mode is extremely useful in studio and home recording environments, as it allows impedance matching with low-impedance line inputs without excessive loss of bass components.

＜LOW-CUT＞
It's designed to cut out excess low-end muddiness and bloat that can make it difficult for guitars (and sometimes bass) to fit neatly into a mix.

Unlike STUDIO mode, LOW-CUT mode does not affect the low-mids or ultra-high frequencies, but instead improves headroom by cutting the so-called "low lows" to give you a tighter sound.

It is particularly effective for bringing down the low end sounds of guitar neck pickups, some basses, synthesizers, etc. that tend to be too boomy or overpowered into the PA/studio mix. Also, if there is a problem pedal in the signal chain that loses low frequencies when turned on, you can use LOW-CUT mode as an "always on" buffer to cut the low end beforehand.

＜STUDIO＞
The EQ curve is based on the famous "Pultec Trick" mixing technique that has been used since the 1950s until the present day, and is combined with time-tested mixing techniques to improve sound transparency.

STUDIO mode cuts low-mid frequencies to remove low-frequency haze, gently emphasizes high-mid frequency presence, and reduces low-frequency clutter with a natural-sounding high-pass filter for a more "polished" sound. Without excess bass clutter or clutter, guitars and bass can stand out more in the mix. And by cutting excess bass clutter and bloat, you can get more volume in the frequency range that matters most.

Placing ZIO in STUDIO mode after a fuzz or overdrive pedal allows you to create sounds effectively.

＜E-PLEX＞
It recreates the feel, character and frequency response of the classic tape echo units from the early 1970s, giving you a warm, clear and slightly distorted vintage-style FET buffered/boosted sound.

The original tape echo unit had a very high output impedance, so running a long cable caused a high drop. This high drop, which was thought to be a drawback, was instead accepted as part of the character of the tape echo unit, and many players turned off the echo function of this tape echo unit and used only the preamp section as a constant-on effect to get the tone and feeling.

・TONE (cable capacitance)
＜BRIGHT＞
It simulates a short, low impedance cable run, preserving and in some cases restoring the top end that is lost through long cable runs or multiple pedal connections.

＜MED（MEDIUM）＞
The "straightforward" mode simulates medium cabling and has the least overall effect on tone.

＜DARK＞
It simulates a long cable run with high impedance and attenuated top end (high drop).

■ Operating voltage: 9V to 18V DC
■Current consumption: 20mA
■Power terminal: Outer diameter 5.5 mm x center pin 2.1 mm (center negative)
Input impedance: 1MΩ
Output impedance: 150 ohms
■Dimensions / Weight: 10.5cm (L) x 6cm (W) x 5.65cm (H/including knob) / 280g

DIGITECH FreqOut is an effector that can generate natural feedback.

The DigiTech FreqOut Natural Feedback Creator allows you to get sweet, natural feedback at any volume, with or without distortion. FreqOut is perfect for studio-like volume control, in-ear monitor environments, and for low-volume performance and practice.

Feature:
Features
-Generates natural feedback at all levels, with or without distortion
-Adjustable feedback gain and onset time
- 7 Harmonic Feedback Types
- Dry signal on/off function
- Choice of momentary or latching footswitch operation
・トゥルーバイパス

Power supply: DC9V adapter only (sold separately)
Weight 358 g
Dimensions 123mm L x 76mm W x 46mm H

Premier multi-effects pedal with 62 studio-quality effects and flexible I/O

The H90 Harmonizer is Eventide's next generation multi-effects pedal.
Whether you're looking for high-quality essential effects or unprecedented experimental effect sounds, the H90 has everything you need to inspire your creativity with an intuitive, player-focused UI.
With a combination of 62 effect algorithms and hundreds of programs curated for a variety of instruments and genres, you'll see why top artists and producers have chosen Eventide for years.
With its flexible I/O and routing options, the H90 is designed to be the centerpiece of your rig.

■ New technology, new effects
The H90 Harmonizer uses a state-of-the-art ARM-based architecture derived from Eventide's flagship H9000 Harmonizer, the world's most powerful effects processor.
This paved the way for the continued creation of more advanced effects processing techniques.
The result is a pedal that not only delivers the iconic reverb, delay, modulation, and pitch-shifting effects of the H9 Max, but goes even further with 10 new powerful algorithms, including state-of-the-art fast-tracking, stable polyphonic pitch shifting.Eventide's exclusive SIFT (Spectral Instantaneous Frequency Tracking) technology paves the way for next-generation effects long unimagined.

■ Seven new algorithms that bring out the full potential of the H90
Polyphony
Prism Shift
Even-Vibe
Head Space
Bouquet Delay
Wormhole
Weedwacker

■ Equipped with three algorithms from Eventide's acclaimed rack-mount processors
Instant Phaser
Instant Flanger
SP2016 Reverb

■Twin turbo program power
Combining two of these amazing algorithms in one program allows you to create fresh and inspiring sounds. The H2 Harmonizer's dual-algorithm design features true spillover between programs, series or parallel effects routing, and flexible I/O.
Two mono inserts allow you to freely configure your outboard effects or combine them into one stereo insert. Instrument or line level operation and full gain control optimize your signal flow, making the H2 the perfect addition or centerpiece to your rig.
In Dual Mode, you can run the H90 with four cables or process two independent stereo instruments simultaneously. The H4 Harmonizer invites you to push the boundaries of what effects can do.

■ Live performance machine
The H90 Harmonizer is also great for live performances!
The front panel has been redesigned with five push knobs, seven LED buttons and a high-resolution OLED display for more hands-on control and parameter feedback. Two large push knobs allow easy switching between SELECT, BANK and PERFORM modes. In PERFORM mode, six programmable footswitches are available. Map functions like Tap Tempo, Preset, Insert Bypass and Momentary, use options like Reverb Freeze, Pitch Flex and Delay Repeat, or instantly change multiple parameters with three HotSwitches.
The intuitive UI puts every parameter at your fingertips. Manually adjust expression mapping with the PERFORM HotKnob, or activate up to six individually assignable parameters with three push-button quick knobs. Plus, two inputs for expression pedals and AUX switches with up to three buttons give you even more control. Plus, MIDI control is also possible.
The H90 comes with hundreds of factory programs that can be loaded in SELECT or BANK mode. In SELECT mode, the OLED display allows you to navigate sequentially without missing any details in your playlist. In BANK mode, you can quickly load from three program banks, perfect for recalling a variety of sounds for a song. Organize your favorite sounds, load a new playlist and you're ready for your next gig.

■ Function introduction
62 preloaded effect algorithms:
10 new effect algorithms:

Polyphony, Prism Shift, Bouquet Delay, Head Space, Weedwacker, Even-vibe, Wormhole, Instant Flanger, Instant Phaser, SP2016 Reverb

All 9 effect algorithms from the H52 Max Harmonizer included, enhanced and improved

-New low-latency polyphonic pitch shifting with SIFT (Spectral Instantaneous Frequency Tracking) technology
ARM-based architecture lays the foundation for exciting new creative effects
- Two algorithms can be used simultaneously per program
- True spillover between programs
- Series or parallel effect routing
-Instrument or line level control
- Two mono inserts or one stereo insert can be placed anywhere in the signal chain
- Dual mode for simultaneous processing of two independent stereo signals
- Five push-turn knobs provide more tactical control
- Two expression inputs for pedals, up to 3-button AUX switches, and CV signals
- H90 Control software allows you to edit programs, create lists and update firmware on your Mac or PC
-Built-in tuner

• Linking Phase90 and Phase45
• Half the width of a standard MXR pedal
• 45/90 switch to select Phase 45 or Phase 90 sound
• When the Script switch is not engaged, the sound has feedback, but turning the Script switch on changes to a feedback-free vintage sound.
• Size: 45mm(W)×92mm(D)×55mm(H)
  Power supply: 9V (adapter only/center negative)

El Capistan allows you to switch between three different tape machine types, each with its own unique mode. You can fine-tune the sound you envision, including the quality of the tape, the degree of machine wear, and the tone.
It reproduces everything from the stable full-range sound of a brand new echo machine to the nuances of a worn-out, unstable unit that needs maintenance. With this one unit, you can get the full-bodied sound unique to new tapes, as well as the noisy, muddy sound of worn-out tapes.
With the dTape™ technology and powerful ARM DSP, it offers a wide range of effects, from tape machine effects that could never be reproduced with a conventional tape machine to tape-style looper effects. You can enjoy the best vintage experience with the latest technology without worrying about the maintenance of a real tape machine.

■ A true vintage successor
The moment you plug it in, you'll be reminded of the vintage sound of the era. The warmth and saturation of a real tape echo. Despite its compact size, it brings that unmistakable vintage sound to your pedalboard. From classic slapback echo to psychedelic, floating, spacey sounds, it adds rich depth to any sound, and you'll find new inspiration every time you turn the knob.

With the organic delay feedback at your disposal, you can easily find the sound you like. The possibilities are endless, from creating spatial resonances with spring reverb, to creating layered ambient soundscapes, to using it as a looper to add tape-style overdubbing to your performances. With El Capistan on your pedal board, new ideas are sure to come to mind.

■ Tape machine
Classic slapback, rhythmic multi-head delay, ambient echo with fine decay - all types of tape machines in one. With three different tape head modes, El Capistan faithfully reproduces the character of different machines in each mode, creating a variety of vintage echo sounds.

Delay Control
Fully equipped with detailed delay control, El Capistan is a compact pedal that will be a great addition to any pedalboard. Set the delay time with the TIME knob to create a wide range of sounds, from sharp slapbacks to epic echoes. Use the TAP switch to instantly set the tempo to your liking. The MIX knob controls the balance between dry and wet signals, allowing you to seamlessly set it to 100% dry, wet, or anywhere in between. The REPEATS knob allows for versatile control, from a single echo with double tracking delay to a complex, wild, turbulent wavering at maximum level.

■Spring reverb
Like the old echo machines, El Capistan features a finely tuned spring reverb that can add a different flavor to your echo. Set it subtly to add a little space or go for a more traditional spring reverb shimmer for a premium sound. Turn the MIX knob all the way down for a reverb-only sound.

Wow and Flutter
El Capistan captures the nuances of every moving part that makes classic tape echo sound great. The Wow & Flutter knob controls mechanical tape speed variation. From the clean, fresh delay of brand new tape to the pitch-wandering echo of a worn-out tape, you can easily get the full range of tape echo sounds without the maintenance worries that come with vintage gear.

■ Faithfully reproduces the deterioration of tape over time
We aimed to deliver the most authentic tape echo experience from the modern, compact form of El Capistan. The sound was perfected by paying attention to the effect of the age of the tape and the condition of the machine on the sound, as well as the bias settings of the tape machine that deteriorate over time. The Tape Age knob can reproduce the full bandwidth clear sound of a brand new shiny tape, as well as the warm sound of a well-used tape. We also provided secondary functions to control the degree of tape deterioration and bias to make more detailed settings easier while maintaining a simple operation surface.

The secondary function Tape Crinkle allows you to control the amount and degree of factors that affect the tape and sound, such as irregular wear, wrinkles, seams, and dirt caused by aging. From tapes in good condition to tapes that are worn out and in poor condition, they are reproduced at the tape speed just like the real thing.

Apart from the characteristics of the tape itself, the bias setting makes a big difference to the audio signal (tone) of the tape. A lower Tape Bias secondary function will give you more headroom and a cleaner, crisper echo sound. A higher bias level will give you a sharper, more saturated echo. A higher bias setting also reduces the echo volume. It is suitable for controlling the output level while setting the REPEATS knob high, creating a high feedback effect and self-oscillation effect. For optimal bias, we recommend setting the knob at around 9 o'clock.

■ Low-end contour
Like all Strymons, it has a secondary function in addition to the primary function for more tweakable sounds. The El Capistan's secondary function, Low End Contour, allows you to further change the tone by adjusting the low frequencies of the repeated echoes. At lower settings, it has a natural, extended low end, while at higher settings it recreates the extreme high-passed echoes typical of magnetic drum-style tape machines.

■ Looper function
Like variable recording head echo machines like the original Echoplex, the El Capistan features sound-on-sound mode.

When set to "TAPE HEAD: Single/MODE: C", recording starts like an echo machine (original Echoplex). To determine the length of the tape to be recorded, first press the TAP switch to set the start position of the recording tape. Next, press the TAP switch again to set the stop position of the sound (the joint of the tape). While the sound from start to stop is repeated, all controls are active, so you can change the sound quality in real time. Pressing the TAP switch a third time erases all recordings. The recording time length is 3 seconds at low speed and 20 seconds at high speed.

What's new in El Capistan V2?
While retaining the original sound and basic functions, we've added I/O and control. The following updates have been made:

A SPRING knob has been added that allows you to control the spring reverb sound.
Equipped with a mono/stereo input switching switch.
It has USB-C for updates and TRS MIDI (via EXP/MIDI jack) for full MIDI functionality.

Flint features a vintage amp shimmering tremolo circuit, a high-quality, dreamy tremolo effect, and three different reverb algorithms. On the tremolo side, you can switch between the complex '3 Harmonic Tremolo, the sleek '61 Power Tube Tremolo, and the sharp and balanced '63 Photocell Tremolo. On the reverb side, you can choose between a classic '65s spring reverb, an inventive '60s electronic plate reverb, or a nostalgic '70s rack reverb (hall type).

By fine-tuning nine parameters, you can control the details of the tremolo and reverb character. The sound making is very diverse, including splash-like sparkle, pulse-like resonance, pulsating bluesy sound, ambient fluctuation, and gentle reverb pad. Each effect section is equipped with a true bypass on/off switch, and the input and output sections are made of high-quality analog sections. Flint delivers the tremolo and reverb sounds that have been engraved in the history of music in a pedal format.

■ More authentic than the real thing
Tremolo and reverb appeared in the early days of guitar effects. The combination of these two fascinating effects was ideal. These effects, installed in the classic amps of the 1960s, have added color to countless records and performances, from early surf music, muddy American southern blues, spaghetti westerns, film noir soundtracks to modern indie rock. As music has evolved, they have continued to provide endless inspiration to artists.

Flint is a studio-class high-quality pedal that reproduces this combination. We thoroughly researched the popular and classic tremolo and reverb circuits, and succeeded in faithfully reproducing the complex layers of sound and subtle nuances using our own algorithms. Flint is two effects in one, with a tremolo on one side and a reverb on the other.

■TREMOLO
'61 Harmonic Tremolo:
Harmonic tremolo is a rare type found only on tube amplifiers in the early 1960s. It features a two-band filter effect that alternates between emphasising low and high frequencies. The result is a gentle pulsating tremolo effect, like a smooth phaser with alternating emphasis frequencies.

'63 Power Tube Tremolo:
In power tube tremolo, the LFO signal directly interferes with the bias of the push-pull output stage. When the LFO is connected to the bias, the bias current to the power tubes goes up and down, and the gain goes up and down. This alternation creates the tremolo effect. Crossover distortion occurs when the tremolo volume approaches zero and the tubes stop working. Conversely, harmonic distortion occurs when approaching maximum volume. Also, the drop in the power supply at maximum output affects the bias point of the power tubes. All these factors combine to create the "dirty" sound of the tremolo.

'65 Photocell Tremolo:
The Photocell Tremolo is a faithful reproduction of the photocell tremolo found on mid-60s American amplifiers. The photocell tremolo uses an LDR (light dependent resistor) to control the level of the input signal. The LDR is used in conjunction with a miniature light bulb connected to an LFO. When the LFO oscillates, the brightness of the miniature light bulb changes, which changes the resistance of the LDR. This change in resistance and impedance affects the signal level, creating a "hard" tremolo sound that changes drastically between the two levels like a square wave.

■REVERB
60's Spring Reverb:
The Spring Reverb is a reproduction of a full-sized two-spring tank used in vintage amplifiers. The spring tank generates different delay times, creating a complex and smooth reverberation sound and a reverb-specific frequency characteristic. Vacuum tube circuits are used for input and output to the springs, and a method is used to convert the electrical signal into a mechanical signal that rocks the springs and then back into an electrical signal again.

70's Plate Reverb:
The Electronic Plate Reverb is a faithful recreation of the first digital reverb ever made. This hardware marvel was a parallel arrangement of multiple delay lines, each with multiple outputs and a filtered signal fed back to the input. The result is a rich, smooth sound with multiple parallel output taps that can be used to quickly create dense reverberation in a short time.

80's Hall Reverb:
The Hall Rack Reverb recreates the nostalgic late 80s rack-mounted digital microprocessor reverbs. At the time, reverb sounds were created with efficient serial loops of delay, all-pass and low-pass filters, despite limited processing power. The delay line was modulated to increase the density of the reverb or add warmth to the sound. This hall reverb is characterized by a dense reverberation that slowly builds up after the early reflections.

■ Effect Order function
In addition to the reverb-then-tremolo arrangement, like vintage tube amps, you can also apply tremolo before the reverb for a cleaner, more modern tone. Flint offers a secondary Effect Order function that allows you to change the order of the reverb and tremolo for precise tone control. This setting can be accessed from the secondary functions in Live Edit and saved per preset.

■Pre-Delay function
A new secondary Live Edit function, Pre-Delay, has been added, which allows you to adjust the time before the reverb signal starts and this delay time can be saved per preset.

What's new in Flint V2?
While retaining the original sound and basic functions, we've added I/O and control. The following updates have been made:

Equipped with a mono/stereo input switching switch.
It has USB-C for updates and TRS MIDI (via EXP/MIDI jack) for full MIDI functionality.
Pre-Delay can be set using the Live Edit function.

TIMELINEは、strymonが放つ新しいスタジオクラスのディレイペダルです。素晴らしい音色とフィーリングに溢れる12台の異なるディレイ・マシーンを内蔵。200通りのユーザー・プリセット＆MIDIコントロールが可能。スタジオ・クオリティーのデジタルディレイから、サチュレートし不安定なテープエコー、ワームで心地よく歪んだアナログ・ディレイ、シマーサウンドをプレイできるクリスタルなアイスディレイなどを搭載しています。

主な特徴とサウンドデザイン
・綿密で細かなニュアンスに富んだスタジオクラスのディレイ・アルゴリズム
・12種類のディレイ・マシーン（アルゴリズム）
・7種類のコントロール：Time、Repeats、Mix、Filter、Grit、Mod Speed、Mod Depth
・各アルゴリズム中のメニューに、フレキシブルなトーンシェーピング機能を備えており、自由自在のトゥィークを実現

ハードウェアとコントロール
・豊富なプリセットをベースに書き換えセーブが可能
・LEDディスプレイがプリセット、 BPM/タイム、パラメーターを表示
MIDI file download
・プリセット選択、エフェクト・バイパス、ルーパー・コントロール、タップテンポを操作するメタルフットSWを搭載
・30秒／24bitのステレオLooper機能搭載、ルーティング可能なプリ叉はポストディレイ、フルMIDI機能

Ins、Outs、Switches
In & Out
・エクスプレッションペダル入力。選択指定自由、複数のアサイン＆コントロールバユー幅も自在。プリセット毎の異なるエクスプレッションのアサインがメモリー可能
・MIDI In & Out
・切り替え可能 I/O 設定: ステレオ In & Out、モノ In & Out w/Delay Feedback Loop Insert

オーディオ・クオリティー
・超低ノイズ＆ハイパフォーマンス 24-bit 96kHz A/D & D/A コンバーター
・SN比 ≦115dB
・アナログ・ドライ信号、0レイテンシー・ドライ信号（原音はADされません）
・ハイエンドHifiレベルの入出力アナログ・セクション
・超ハイパフォーマンスSHARC DSP
・32-bit 浮遊演算プロセッシング

その他の特徴・製品仕様
・トゥルーバイパス (電子リレースイッチング)
・テールモード（高音質アナログバッファード）プリセット毎に設定＆プリセット可能
・+/- 3dB Boost/Cut プリセット毎に設定＆プリセット可能
・Tap分割設定 プリセット毎に設定＆プリセット可能
・Rugged and lightweight gunmetal gray anodized aluminum chassis
・サイズ：172mm x 130mm x 33mm（リア49mm）
・Crafted with love in the USA

The legendary Echoplex® EP-3 tape echo sound in a pedal-sized package.

AGE mode adds a darker sound character with a vintage feel, and increases tape saturation (distortion) to bring out the modulation and tape resonance.
True bypass with relays and CHT™ (Constant Headroom Technology) technology.

■ Delay Time: 65-750mS
■Tap tempo function can be used with a separately sold foot switch, and stereo use and 100% wet use are also possible.

The Echoplex® EP-3 tape echo unit is famous for its delicious warmth, natural modulation and sweet sound that made it an iconic and essential component of guitar sounds throughout the 60's and 70's. However, the original EP-3 units were expensive, finicky to use and prohibitively large.

The EP103 Echoplex Delay is the same compact size as the Phase 90. The controls are simple and clear: Delay sets the delay time from 65 to 750 milliseconds, Sustain sets the number of repeats, and Volume sets the delay output level.
But where this pedal's sound really shines is in Age mode, which by default operates as a bright, clear tape-like sound with just a little wow and flutter, just like a perfectly tuned, factory-new tape echo machine.
Pressing the Volume knob enters Age mode; the more you turn the knob clockwise, the darker the repeats will be in tone, the more tape saturation there will be, and the more modulation and tape squeal there will be.

The Echoplex Delay has a tap tempo function that allows you to set delay times up to 199 seconds by connecting the M4 MXR Tap Tempo Switch.

The EP103 delay signal goes through the same circuitry as the EP101 Echoplex Preamp, but the dry signal is not colored. If you want the same coloration for your dry sound, the secret sauce is to run the EP103 before the EP101.

The effects circuit has 20 volts of headroom thanks to CHT™ (Constant Headroom Technology), selectable relay true bypass and trail modes, and can also be set to 100% wet mode with stereo input and output modes.

The new standard for tough and compact expression pedals

The EV-30 is a space-saving expression pedal that is ideal for incorporating into pedalboard systems where space is limited.
The sturdy, stable aluminum die-cast housing is designed to withstand the rigors of touring and intense stage performance, and even in its compact size, it still retains the traditional BOSS reliability and durability.
In addition, the torque range is designed to be generous, allowing the player's nuances to be conveyed smoothly. Equipped with two EXP OUT connection terminals.

Starting with the multi-effects GT-100 and GT-1, the switching system ES series, the digital delay DD-500, the vibrato VB-2W, and other pedals with expression input terminals, this pedal will expand the range of expression possibilities. This is a professional spec model that you can use for a long time.

- Compact yet robust and durable aluminum die-cast body
- Smooth pedal action that faithfully conveys delicate nuances
- Equipped with two independent EXP OUTs, you can control two devices without worrying about loop noise
-Effect minimum value can be set for each EXP OUT
- Polarity switch allows for combination with various devices
- The same movable parts and housing design as the FV-30H/L and PW-3 achieves both durability and space saving.
- S1/4 inch TRS (stereo) cable included

Inheriting the glorious history of polytune, POLYTUNE3 MINI is packed with unprecedented functionality in a compact body, including always-on mode and the highly acclaimed BONAFIDE BUFFER circuit.

▼Tiny Tone Guardian
If you use a board with a lot of true bypass pedals or long cables, your precious tone may be damaged. POLYTUNE 3 MINI has a built-in BONAFIDE BUFFER that suppresses signal degradation and has a very high S/N ratio to protect your tone. In addition, you can easily switch between buffered bypass mode and true bypass mode.

▼Ability to respond flexibly to any situation
With POLYTUNE 3 MINI, you will never go too far with your arming again. Always-on mode allows you to check the pitch while arming, allowing you to arm at the correct pitch. In addition, a DIP switch is installed on the outside of the case, making it easy to switch between buffered bypass and true bypass.

▼ Bright and easy-to-read display
Whether in direct sunlight or under large lighting fixtures, POLYTUNE 3's bright display provides high visibility. The powerful LEDs work in bursts, so you'll never have to search for your display again.

An audio controller with professional specifications.

The EFX MK-V, equipped with switching and MIDI functions to meet the needs of any professional environment, from live performances in large venues to studio recording, has evolved even further to achieve the ultimate in professional specifications and is now available as the new EFX-VI.
Audio loops, Vol. controller, external foot switch function, presets, songs, and sets have been added and completely revamped! It also has a full range of MIDI functions and supports USB MIDI.

- Features a total of 11 audio loops: 1 mono loops & 12 mono send/stereo return loop.
- You can set the loop connection order for each preset. (Loops 1 and XNUMX are fixed.)
- Equipped with three buffers: input buffer, output buffer, and Loop 6 buffer. Each buffer can be turned on/off using the IA switch or preset.
2 x Internal Vol. controller. This volume is also used for carryover of sound when switching presets. Volume setting value can be saved for each preset.
- It also has 2 x switching capability using 4 x TRS jacks, allowing external switching of amplifiers, etc.
- 900 presets (180 banks x 5 presets) & 1 global preset
・900 songs can be set.
・900 songs can also be set to 64 sets x 120 songs.
- User-assignable switches
- It has a clickless function that reduces pop noise when switching.
- Equipped with ISO out to avoid hum noise and phase problems (transformer isolation).
- Each preset can be set to send 16 MIDI (PC, CC, Note, etc.) messages. If the switch is assigned to Page, it will send 8 MIDI (PC, CC, Note, etc.) messages.
- MIDI time clock can be sent and synchronized with function switches. Time synchronization is possible with effects with external TAP jacks, just as with effects with MIDI functions. BPM can be saved in bank presets and song presets.
- 2 foot switches can be connected to the XPDL jack.
-USB connection to PC or Mac is possible.
- Easily copy presets, songs, sets and switches.
- Presets and song titles can be displayed on the graphic LCD display.
-Uses a foot switch that boasts reliable robustness.

[Main function]
■ "Song mode" allows you to register each preset on a song-by-song basis
The 900's presets can be organized into "Song (Mode)" that can be called up by song. For example, you can create "Song A" and assign any preset to a foot switch. In the same way, you can create "Song B" and assign a different preset to it. The "Songs" you create can be called up and their order changed to suit the set list of the day.

■ "Set mode" to rearrange songs in the order of the set list
By using "Set Mode", you can be freed from the troublesome switching between banks and erroneous operation due to the set list that changes every day. In addition, 900 presets (180 banks x 5 presets) & 1 global preset, 900 songs can be set. The 900 songs can also be set to 64 sets x 120 songs. EFX-VI is a strong ally for players involved in multiple bands and projects.

- Fully flexible routing
Set the buffer position. Connect in series or parallel. Adjust the volume of the loop. Change the order of the effectors, and set MIDI control and spillover for each preset. You can use your favorite effects carefully selected for your pedal board to their full potential. Even if you don't want to use the effector in the digital multi preset, you can finish the sound with your own pedal. In addition, you can add the MusicLAB Parallelizer to the effect mix and control it with MIDI to create even deeper sounds.

- Loop connection order can be changed for each preset, and parallel connections are also possible
This unit is not a simple loop on/off switcher. It is a flexible controller that allows you to freely create presets with different connection orders, regardless of the order of the loop numbers. For example, you can connect a wah pedal to loop "1" and switch the distortion effector before and after for each preset. You can also "connect" specific loops in parallel, which allows you to parallelize distortion effectors with different characters, or create a mixed sound even with effectors that do not allow "dry and wet" settings.

- Buffer amplifiers can be set for each preset
This unit is equipped with a high-quality buffer: an "input buffer" that can be moved before or after loops 1 and 1 (when a fuzz pedal is used in loops XNUMX and XNUMX, the buffer is inserted after the loop), and a stereo on/off-compatible "output buffer" located in the output stage.

・Spillover function
The "Spillover" function (called "Carryover" in MusicLAB) is a function that keeps the sound of the previous preset until the reverberation ends when switching from a preset that includes reverberation such as delay or reverb to the next preset. It is useful when you cannot set it on the effect side, such as a vintage analog delay. This "Spillover" function is controlled by an assignable built-in Vol. controller, and can be set and memorized for each preset.

- 2x preset volume function
The insert position level of 2 x volume values ​​(Vol. A & Vol. B) can be saved for each preset. This allows you to freely set the volume of each when creating parallel loops in routing settings. For example, you can use two distortion effects in parallel and set one to be applied thinly. Also, when using it with stereo out, you can fine-tune the left and right volumes as needed.

-Any MIDI signal can be sent
You can send MIDI PC# (Program Change) and CC# (Control), operate CC# in real time with a connected expression pedal, and even set the BPM. The MIDI terminals are equipped with IN and OUT/THRU, so it can be connected in any way. The VI also has a USB terminal, allowing MIDI transmission and reception with a PC/Mac.

・Signal split
The ability to branch audio signals out from the signal path has also been added.

■ソフトウェア
・EFX MK-VI EDITOR (Mac/Win)
The EFX MK-VI EDITOR software allows you to change the settings of the EFX MK-VI from your computer screen. It features a list of MIDI information to be sent and presets/songs to be changed. Firmware updates can also be performed from this software.

*Currently under development (scheduled for release around December 2021-January 12)

・Firmware update
You can update the firmware by connecting directly to a PC/Mac via the USB port.

spec
■ INPUT / OUTPUT section
Buffer impedance: 1MΩ
Buffer output impedance: 100 ohms
Volume control input impedance: 1 MΩ/44 kΩ
Volume control output impedance: 100Ω
Normal Audio Signal Level: -10dBu
Maximum Audio Signal Level: +18dBu

■電源、サイズ
Power supply: 12VDC...DC12V center negative, power supply sold separately (there are no genuine manufacturer parts, so please use "strymon Ojai R30" etc.)
Current consumption: max. 250mA
Size: 388mm (W) x 110mm (D) x 68mm (H)
Weight: 1,400g