Yuya Komoguchi's equipment [amps, guitars, effects]

Born in Hyogo Prefecture on February 1988, 2. Influenced by his father, he began playing the guitar at the age of 27. From the age of 11, he studied music theory and improvisation under jazz guitarist Yuji Tsuchino. During high school and college, he won numerous awards in contests such as those held by Guitar Magazine, and was quickly recognized as the "next-generation guitar hero."

In 2008, he formed the instrumental fusion trio TRI-Offensive with keyboardist Taku Yabuki and bassist Kiyomi Otaka.

They made their debut with their first album "TRI-Offensive" (1) under King Records, and attracted attention from jazz and rock listeners both in Japan and abroad with their progressive and virtuoso sound.

In 2011, he officially joined the veteran fusion band TRIX.
During his five years with the band, he has participated in six studio albums, from their masterpiece Impact (5) to Evolution (6), leading a new chapter in catchy, guitar-driven, technical music.

In addition to the nationwide tour, they have also appeared at festivals in Asia, including Korea and Taiwan, expanding their overseas fan base.

He released his first solo album, "picture," in 2014. His composition and arrangement skills, which combine complex polyrhythms and lyrical melodies, have been highly praised.

Since then, he has participated in live performances and recordings with many artists, including Tetsuo Sakurai and Satoshi Bando Band. He is also recording guitar for game and anime OSTs, expanding his range of expertise.

He has published several books, including "Yuya Komokuchi's Amazing Guitar Approach" (2011/Shinko Music). He is well known for his advanced picking theory and explanations of fusion licks.

We also focus on nurturing young talent by offering master classes at vocational schools and online courses.

In 2023, he released the digital single "Unfair" under the name KMHY, a unit with composer and arranger Takusuke Hayama, and also held a live streaming event.

He has hinted on social media that he is working on new recordings as part of his own leadership project and on overseas sessions in 2024-25, so further developments will be worth watching.

This spec, which can be said to be Mr. Komoguchi's signature, has a straightforward alder body, maple neck, and a beautiful bird's eye maple fingerboard. The flip flop finish, which can be called a majola color, and the black pearl pickguard give it a very beautiful and cool atmosphere. The pickups are Lindy Fralin's Vintage Hot and a traditional single coil, and the vintage-like The Mule from Bare Knuckle is used as the rear humbucker. The Sperzel locking tuners are designed to be conscious of the pitch when using the arm, the speed and field feel when changing strings, and the actual situation. The saddles and springs are selected from low vintage and clone parts made by analyzing the metal content of vintage. This is a wonderful component that combines modern and traditional.

I own several ST type XS series.
The model in the picture was the most recently ordered from Xotic.
It features an ash body, a one-piece maple neck, and custom Raw Vintage pickups made with enamel wire.

While achieving stable sales with the I-35, Bill Collings is pursuing new ground and sound, and this plywood model I-35LC was released. This model was created based on feedback from musicians, and has a moderate compression feeling, and its tone nuances are suitable for any music scene regardless of genre. Compared to the I-35DLX, the binding is simplified, but it is all the result of considering the total sound. It is priced at an under-value, but its hidden potential is a masterpiece that feels more than worth the price. The I-35LC was born to be the new standard for Collings in the future. It is well worth experiencing.

TOP Maple Laminate Top, Sides and Back BODY (Semi-Hollow) Maple

NECK Mahogany / 22F HEADSTOCK Ebony FINGERBOARD Rosewood

FB INLAY Mother-of-Pearl Dot SCALE 24 7/8″ (631.8mm)

NUT WIDTH 1 11/16″ (42.9mm) BODY LENGTH 1 5/8″ (447.6mm)

BODY DEPTH 1 5/8″ (41.3mm) BODY WIDTH 15″ (381mm)

TOTAL LENGTH 40″ (1016mm) TUNER Collings w/Vintage-Style Buttons

BRIDGE Tone-Pros Bridge and Tailpiece

PICKUPS Jason Lollar low-wind Imperial Humbuckers

FINISH High Gloss Nitrocellulose Lacquer CASE Deluxe Hardshell Case

COLOR Tobacco Sunburst(Photo)/ Dark Cherry Sunburst/ Faded Cherry/ Blonde/Walnut/ Orange/Crimson/ Full Body Sunburst (Option)

FACTORY STRINGS D'Addario NYXL1149 (.011″ – .049″)

The J-1942 has played a central role in the Gibson round-shoulder lineup since its introduction in 45, supporting players with its excellent expressiveness, combining warm low-mid range and edgy high-mid range, and serving as a reliable partner at all times.

World-renowned for its balanced, rich expression, warm low end and excellent projection, the J-45 Standard takes the illustrious J-45 legend to even greater heights.

The combination of a Sitka spruce top and mahogany back and sides provides a wide dynamic range, warm midrange and tight, punchy lows.

Bodysuit

Body Shape Jumbo

Top Material Sitka Spruce

Back Material Mahogany

Side Material Mahogany

Bracing Traditional hand-scalloped X-bracing

Binding Multi-ply top, single-ply back

Finish Nitrocellulose

Neck

Neck Material Mahogany

Neck Profile Slim Taper

Scale Length 24.75″ / 62.865cm

Fingerboard Material: Rosewood

Fingerboard Radius 12″/304.8mm

Number of Frets 20

Frets Standard

Nut Material Black

Nut Width 1.725″ / 43.82mm

Inlays Mother-of-pearl dots

Shiva is an amp that embodies the pure techniques of amplifier design honed by Reinhold Bogner's many years of research. With minimal functionality, the two channels produce a variety of sounds, from a beautiful clean sound that captures the moment when a drop of water freezes on a winter moonlit night, to a rich, powerful, burning drive sound.

The two channels are equipped with well-thought-out boost circuits, giving you a wide variety of sounds you wouldn't expect from a 2-channel amp. In addition, the gain channel allows you to set different levels for boost On/Off, making it possible to boost the level for solos.

shiva20th Anniversary
It has a 88W output specification and uses KT90 tubes for the power tubes.
The clean channel is equipped with a newly designed boost circuit. Unlike the Standard tone circuit bypass, it is a boost circuit with a new gain stage, which allows you to get gain up to the Plexi range on the clean channel.
The gain channel has a higher gain design than the Standard model, and improvements have also been made to the tone shaping.
In addition, the new Tone Shift switch allows you to achieve a different tone with less mids.
The back panel features an Excursion control that adjusts speaker damping, allowing you to tweak the low end at low volumes.

Shiva
Features:
2 Channel All-Tube Design
Ch.1: Bass, Treble & Volume control, Bright switch
Ch.2: Bass, Middle, Treble, Gain & Volume control, Bright and Shift switch
Boost mode, variable via independent Volume control on Ch.2
Common Master Volume and Presence control
Tube-buffered series FX-Loop with pedal and rack sends and returns
Functions on footswitch: ch.1 or Ch.2, boost, reverb
OPTIONS:
Reverb with independent reverb level controls for each channel
20th Anniversary circuit, 90W KT88, Mode switch for Ch. 2, excursion control, plexi panel with
gold background, head enclosure with classic bottom mounted look
Size: 25.4(H) x 62.3(W) x 26.7(D)cm
Foot Switch

*Discontinued product
The SUPER FIFTY-NINE MK I is a Magnatone Quality reproduction of a vintage British amp.

Not only does it provide unique gain control with four channel-linkable inputs, but the vibrato/tremolo that is part of Magnatone's DNA will captivate the player.

The fashion sense created by the contrast between the black Levant and the white grill also attracts many guitarists.

The pinnacle of both looks and sound. This is Magnatone's recreation of the "59."

IVIDED BY 13 The JRT9/15 is equipped with two types of power tubes, 6V6x2 and EL84x2, and you can choose which one to use.

You can enjoy 6W of 6V9 tubes that are reminiscent of fat and bright American tweed, and 84W of EL15s that provide a brilliant and juicy British sound.

The tone has a unique 6-stage switch that, in combination with CUT, allows for a wide variety of tones to be created.

There are two volume controls, the right one emphasizes brightness and the left one produces a fat sound.

The speaker cabinet is the CELESTION G12H-30 12-inch anniversary model.

The Jan Ray is a low-gain overdrive that is said to have the crisp sound, clear sound and sticky sustain of the blackface era Fender tube amps of the 60s.

It became well-known due to its use by Michael Landau, and it remains extremely popular even after many years.

It is well known that Tomo Fujita and others use it.

Myriad Fuzz has been highly praised by Michael Landau and Joe Bonamassa.
It was completed in collaboration with Josh Smith, who is regarded as the next generation blues guitarist.

This hybrid fuzz uses both silicon and vintage germanium transistors.
By mixing the fiery silicon sound with the warm germanium sound, it produces a wide variety of fuzz sounds with plenty of headroom.

Of course, it can produce a variety of clean and crunch tones, and by combining the upper trimmer (for adjusting the bias of the germanium transistors) with the FEEL knob, you can adjust the quality of the fuzz distortion to your liking, from crackling to smooth distortion.

The Myriad Fuzz is Josh Smith's signature fuzz pedal, developed in response to his desire to create a wide variety of fuzz sounds.

The Blues Driver BD-2 has become a standard effect on pedalboards around the world with its vintage atmosphere and heart-stirring crunch distortion. The WAZA CRAFT BD-2W is a compact pedal that is a specially customized version of the BD-2. It is equipped with a fully discrete circuit, with each part carefully selected and assembled. It is a fully analog system that incorporates the skilled techniques and passion of engineers. In addition, the BD-2W is newly equipped with a mode switch that allows you to switch between two types of characters, standard and custom. This mode switch is not just a simple part switch, but a special specification in which the circuit design itself is switched to the optimal one according to each character. Standard mode reproduces the bluesy crunch sound unique to the Blues Driver with a newly designed discrete circuit, and custom mode can create a thick and sticky superb sound that responds to delicate picking nuances.

● A specially designed compact pedal that produces the ultimate tone.
● The sound of the original BD-2 has been refined, further enhancing sound creation.
● Fully analog circuit design with a fully discrete configuration, assembled from carefully selected individual parts.
● Equipped with two sound modes: standard and custom.
● Quickly responds to picking strength and guitar volume control.
● Long-term 5-year warranty for peace of mind.

The DS-1 is a legendary pedal with over 1978 years of history, first released in 40 as BOSS's first distortion pedal. Its sharp distortion and rich sustain are the very origins of distortion. It has supported the feet of many legendary guitarists. The DS-1W employs a newly designed two-stage gain circuit with full analog discrete components by experienced engineers. In addition to the standard mode, which provides the iconic distortion sound, it also comes with a custom mode, which has been tuned to further bring out its potential. It provides a distortion sound with a powerful midrange while maintaining the sound character of the DS-1.

■Features
・究極のトーンを生み出す特別仕様「技 WAZA CRAFT」シリーズ
Newly designed, fully analog, discrete, two-stage gain circuit
- Standard mode gives you the sound of the original DS-1
- Custom mode with powerful midrange and fast response
-TONE knobs are dedicated to each mode for optimal sound shaping
In custom mode, the maximum output is increased by +6dB, demonstrating its potential as a booster
・ギター本体のピュアなシグナルを保つ、プレミアムなバッファを搭載
・安心長期5年保証

■ Distortion that continues to be loved across generations and genres
The common idea of ​​orange = distortion pedals is that the DS-1 is a symbol of distortion and also represents its high level of perfection as an instrument. The distortion sound, which combines crispness and sustain different from previous characters, enables tight backing and relaxed solo playing. For over 1978 years since its debut in 40, it has been a legendary pedal that has been loved by guitarists in all genres, including hard rock, metal, fusion, and grunge, as their best partner.

■ Two modes expand the possibilities for use
The DS-1W has two modes: Standard and Custom. Both modes use a two-stage gain circuit with a fully analog discrete configuration newly designed by experienced engineers. Standard mode is useful when you want to play backing that is tight and clear while distorting intensely. Custom mode shows its potential in situations where a thicker sound is required, such as modern riffs and guitar solos. It gives you a powerful sound characterized by a rich midrange while maintaining the iconic sharp distortion and sustain. By using the two modes properly, you can play with the ideal distortion sound according to the scene.

■ Standard mode: The origin of distortion
In standard mode, you can play with the original DS-1 sound. The crisp, yet smooth and easy distortion is a sound that many guitarists love. You can use it alone, or connect it to a distorted amp as a gain booster to get a dynamic and beautiful distortion sound that incorporates the essence of the DS-1. By adjusting the balance of the range with the unique TONE knob that simultaneously controls the low and high frequencies, you can flexibly create sounds that match your band ensemble or the amp you are using.

■ Custom Mode: Add new appeal to the DS-1
The DS-1W's Custom mode maintains the sharp distortion and sustain that are characteristic of the DS-1, while achieving new sound character and response. The midrange is more pronounced, giving it a strong presence in a band ensemble. In addition, the response when picking is quicker and the nuances are more faithfully reflected. Even with the same settings, a wide range of expression is possible, from crunch to deep distortion, depending on the strength of the picking. The effect of the TONE knob is also specially tuned to allow adjustments to take advantage of the character of the Custom mode. In addition, the LEVEL knob has a maximum control range of +6dB compared to the Standard mode. It can also be used as a booster that strongly pushes amplifiers and distortion effects.

The Cali76 Stacked Edition is a complete reinvention of the SlideRIG concept, featuring two Cali2 compressor circuits arranged in series, just like the SlideRIG.
The biggest difference with SlideRIG is that you can control the signal sent between each compressor section.

ORIGIN EFFECTS' SlideRIG is a compressor pedal that boasts clean sound and great sustain.
By daisy-chaining two carefully designed 1176-style compressor circuits, we have succeeded in easily realizing the compression techniques that were once used in high-end studios.
The SlideRIG originally had fixed attack and release parameters and no control over the gain between the two compression sections.
The Cali76 Stacked Edition removes these limitations, letting you explore the full world of single- and dual-stage compression with just six knobs to control.

You'll notice the gold-colored "THRU" knob located at the center of the Cali76 Stacked Edition.
The INPUT knob, which controls a studio-grade transistor amplifier, determines how much signal is input to the first compressor's fixed threshold, while the THRU knob controls how much the first compressor outputs to the second compressor.
The Cali76 Stacked Edition allows you to control the gain between the compression stages as well as the attack/release characteristics of each stage.
By making full use of these functions, you can, for example, combine compression to gain sustain with compression to control peaks, or set the output of each compressor to maximum to use it as a super-sensitive clean overdrive.

The Cali76 Stacked Edition's two compressors are equipped with LEDs that allow you to intuitively see the gain reduction of each compressor.
Like the company's other compact pedals, the Cali76 Stacked Edition features a discrete Class A circuit design that delivers clean, noiseless performance.
Every component has been carefully selected with a no-compromise approach.
MELF resistors provide noiseless reliability, film and tantalum capacitors provide tight tolerances and linearity, and carefully selected transistors ensure superior signal-to-noise ratios.

Noise picked up by guitar and bass pickups is one of the problems that musicians and recording/PA engineers have been struggling with for many years. FREE THE TONE has received many inquiries about how to reduce noise picked up by pickups, especially on stage. There are manual methods for muting the sound using a volume pedal or switcher to make the noise less noticeable, but we wondered if there was a way to do this automatically. And the result was the "INTEGRATED GATE."

"INTEGRATED GATE" is an effector that automatically controls the output level so that noise is not noticeable. In order to solve the problem of unnatural sound at the edge of the sound, which was a problem with conventional noise gates, it is equipped with a signal monitoring function that constantly monitors the input signal using the CPU, and controls the optimal output level while monitoring the waveform of the input signal, such as peaks and attenuation. "INTEGRATED GATE" has two types of modes.

・Noise reduction mode
The noise picked up by the pickup becomes more noticeable as the vibration of the strings attenuates and the volume decreases. In noise reduction mode, when the volume falls below the set volume (THRESHOLD value), the noise reduction circuit begins to gradually reduce the volume to make the noise less noticeable. The signal monitoring function provides the best volume control and achieves natural attenuation. If a signal exceeding the set value is input, the noise reduction circuit immediately passes the signal as is.

-Noise Gate Mode
In noise gate mode, the sound is muted instantly when the volume falls below the set volume (THRESHOLD value). This is useful when you want to stop the sound instantly while playing. It can be used as a crisp gate effect. In addition, to ensure the sound quality of the guitar or bass, the circuit through which the audio signal passes is fully analog. You will feel a fundamental difference when comparing the sound quality of conventional noise reduction and noise gates. This unit is equipped with a MIDI IN terminal, so you can control the effect ON/OFF with MIDI signals. This is a very useful function when using this unit in conjunction with an audio routing controller such as the ARC-4. Since there is no need to connect to the effect loop, it can be incorporated into a pedal board without making major wiring changes. Please try out the power of the next-generation noise reduction "INTEGRATED GATE".

Characteristics
- A unique signal monitoring system constantly monitors the input signal, providing the optimal noise reduction for the input signal.
- Equipped with noise reduction mode and noise gate mode. You can select the operation according to your purpose.

- Equipped with input impedance switching switch (Hi-Z/Lo-Z).
-Control (effect ON/OFF only) is possible via MIDI signals (Control Change Number).
- Equipped with an HTS (Holistic Tonal Solution) circuit, it prevents deterioration of the sound quality of guitars and basses.
- The output signal has the same phase as the input signal, so there is no need to worry about phase inversion.

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.

DIG delivers the quintessential dual digital delay. The simultaneous use of two delays, the way they are connected, and the delay voicings developed in the 1980s all make this a reality. The complex, synchronized echoes create a dreamy, dreamy effect somewhere between delay and reverb. Five rhythmic subdivisions to musically shape the sound and three dual delay routing options expand the sonic possibilities. From syncopated, pulsating delay patterns to boldly spaced echo trails, you can have fun.

• High impedance ultra-low noise Class A JFET preamp input
• Low impedance stereo output
• Expression input for connecting TRS expression pedal, Strymon MiniSwitch, MultiSwitch Plus, or TRS MIDI
• Equipped with a USB-C jack for MIDI connection to a computer and firmware updates
• Independent TAP tempo switch and On/Off switch
• 300 preset storage and full MIDI support
• Ultra-low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
• High performance 520MHz ARM super scalar processor
• 32-bit floating operation processing
• 20Hz to 20kHz frequency response
• 9VDC (center negative) 300mA
• Designed and built in the USA

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.

A versatile performance featuring brilliant, organic choruses and refreshing multi-layered choruses.

Ola Chorus is packed with a number of beautiful modulation effects based on the dBucket algorithm. Like BRIGADIER, the ideal circuit of the analog BBD is theoretically restored on the DSP, achieving higher performance while retaining the characteristics of analog delay. The computing power of the SHARC DSP is fully utilized in the chorus and vibrato effects, delivering brilliant and organic chorus and vibrato sounds that surpass those of analog machines.

サウンドの多彩さも魅力で、ビンテージ愛好家の期待にも応える複数のビンテージ・コーラスや、カルトサ。機能、ステレオ入出力、スーパーアナログセクションの入出力＆アナログミックス回路、超ロー・ノイズ設計、リアルタイム・エクスプレッション・コントロール…プレイをサポートする操作機能も充実しています。

ライン入力（+4dB）にも対応していますので、ミキサーからのインサート等にもご使用いただけます。

[Major functions and features]
■Three Chorus Types
Ola Chorus features three types of chorus: "chorus," a traditional single delay line; "multi," a three-layer delay line that is popular in studios; and "vibrato," a digital reproduction of a vintage vibrato circuit.

■TONE, MIX control
Equipped with a TONE control that adjusts the high frequencies of the effect sound, and a MIX control that adjusts the depth of the effect sound.

■Analog Dry Mix
The input signal (guitar signal, etc.) is not converted to analog, but mixed with the delay signal as analog. The analog signal path uses a high-end HiFi level mixer circuit with an internally boosted analog power supply, so the original sound is not compromised.

■ FAVORITE Foot Switch
Press and hold the switch to save the control knob settings to memory, then press the footswitch to turn it on (the LED will light up) to recall the previously stored parameters.

■Ultra-low noise, high performance 24-bit 96kHz A/D & D/A converters
A high-speed, high-performance DSP circuit is housed in a compact pedal.

■ Stereo IN Stereo OUT
The unit has unbalanced mono terminals for the left and right channels. It can be used as a stereo guitar effect, and also supports +4dB signals, so you can connect it to the insert of a mixer and use it like a rack mount effect.

From the lineup of pedals by MAXON, a well-known purely domestic brand, comes the clear analog chorus pedal PAC9.

In addition to the general controls, it is equipped with two mini switches that have the ON/OFF effect of Pure and Bright. When Pure is turned on, a freshness is added to the normal chorus, and it is possible to obtain a unique chorus sound when playing chords and arpeggios. Bright adds brilliance and makes the guitar tone stand out. The speed has a wide range of variation, and depending on the setting value, it is possible to make a rotating sound like a Leslie simulator.

It uses TBS (True Bypass Switch), which means that when the pedal is turned off, the signal does not pass through any circuits and is in a completely bypassed state, minimizing signal degradation.
The switches are mechanical switches that reduce noise when turned on and off, meeting the needs of modern players.

●スペック●

Input impedance: 500k ohms
Output impedance: 10k ohms or less
Maximum output level: +9 dB (400 Hz)
Control SPEED WIDTH
Switch PURE BRIGHT
Delay time: 4.6mSec～7.68mSec
Speed ​​frequency: 0.33Hz to 8Hz
Residual noise: -95dB or less (input short IHF-A)
Indication: Bypass/Effect LED
Internal circuit operating voltage 9V (DC/DC Converter)
Power supply: 6 22F006 (S-9P) 1V battery or AC adapter
Battery life Manganese battery: 8.5 hours/25℃ (Panasonic 6F22NB)
Alkaline battery: 20 hours / 25℃ (Panasonic 6LR61G)
Current consumption: 21mA/9VDC
Dimensions: 74(W) x 124(D) x 54(H)mm
Weight: 580g (including batteries)
AC adapter sold separately

The Xotic Wah XW-1 is based on the world's first wah pedal, the Clyde McCoy Wah.

This is a faithful reproduction of the Italian-made wah from 1967 to 1968 used by artists such as Jimi Hendrix, Jimmy Page, and Eric Clapton. The vocal sound, like a human voice, is unique to the Italian wah called Holy Grail Wah. Furthermore, the XW-1 has flexibility such as a two-band EQ for users who want a more unique wah sound.

The XW-1 combines classic sound with innovative technology to create a wah pedal that is unmatched in reliability.

This model Xotic Volume Pedal controls linear movement so that it becomes a part of the musician's body and the instrument. Because of its simple circuit configuration, we developed and adopted high-quality audio pots to maintain the original tone of the instrument.

In addition, by adopting advanced technology, we have created a very smooth volume control and comfortable feel underfoot.
The stroke from zero position to full open is wide, but the moderate torque feeling remains constant throughout the operation, resulting in very high quality operation.

Conventional volume pedals operated with a string have problems such as the string bending or loosening, making it difficult to achieve a linear and smooth operation, and in severe cases the string may break. The Xotic Volume Pedal solves these problems, and the strength of the housing is also very durable.
Like the company's wahs, the compact and durable aluminum die-cast body is about 2/3 the size of a typical volume pedal, making it ideal for small boards.
The size of the hole through which the worm (the jagged plastic rod) in the base housing passes has also been minimized, so it is less likely that dirt and dust will get in, which is one of the causes of problems such as scratching.

This is the low impedance "XVP-25K" (25kΩ).
We tested it out in combination with low impedance output effect pedals and high-end guitars with preamps that we carry at our store, Guitars Station, and were very impressed.

This volume pedal fully demonstrates Xotic's experience and capabilities in continuing to develop musicians' gear, so be sure to give it a try.

*This unit is designed with low impedance (25kΩ).
*The sound quality may change if you input directly from a high impedance guitar/bass with a standard pickup. (This is a matter of personal preference.) Depending on the guitar and effect combination you use, your playing style, etc., the high impedance "XVP-250K" may be a better match.

FEATURES
・100% hand-wired
・Cloth covered wires
・Nylon pivot bushing
・Compact size
・Tuner Out

SPECIFICATIONS
Size
W: 210mm
D: 100mm
H: 67mm
Weight: 853g

Introducing a new pedal tuner for guitarists and bassists from the KORG Tuner Series, which boasts high accuracy and functionality. The pitchblack has a highly rigid body made of die-cast aluminum and is the same size as a compact effector, making it extremely durable. Despite its small size, it is equipped with a large, highly visible, highly bright LED meter that emits light from the surface, and the smoothly operating 11-segment LED meter allows you to accurately understand the tuning from any angle. In addition, it is equipped with a red LED that indicates whether the tuner is on or off, a large note name display, and a tuning guide that shows the pitch of the note, allowing you to tune quickly and accurately even in dark situations such as on stage. The tuning range is E0 (20.60 Hz) to C8 (4,186 Hz), and calibration can be set to 436-445 Hz.

The ARC-3M is finally here, a miniaturized version of the popular ARC-53 switcher that inherits the multi-functionality, high sound quality, and high durability that has made it even more compact! It retains the basic specifications such as the HTS (Holistic Tonal Solution) circuit that operates at an internal voltage of ±15Vdc and the ability to control MIDI devices.

- FREE THE TONE HTS circuit installed
Number of Effects Loops: 4 (Series Loops: 1 Separate Loops: XNUMX)
- Number of presets: 20 banks x 10 presets, total of 200 presets
Control terminals: 3 systems (switchable between latch and momentary)
Input impedance: 1MΩ (HTS-IN)
Output impedance: 200Ω or less (OUT)
- Power supply: Dedicated AC adapter (FA-1220D-JA)
・Current consumption: DC12V approximately 400mA (Max)
・Dimensions: 330(W) x 92.5(D) x 60.5(H) mm (including protrusions such as foot switch and jack)
Weight: Approx. 1.1 kg (excluding AC adapter)

MESA/BOOGIE SWITCH-TRACK Buffered & Dual Isolated ABY Switcher

Switch-Track allows ABY switching between one or both of your two amps of choice. You can choose between two different amps, use two of the same amps for more channel and sound options, or use them together for a louder, fuller sound, or blend sounds for a unique character.

The INPUT is buffered to prevent signal loss due to the increased load when two amplifiers are connected. Both OUTPUTs use isolation transformers that allow unbalanced/balanced signals to be transmitted with consistent tone even over longer cables than usual. The ground of the "B" OUTPUT is lifted by default to eliminate ground loops. Switching operations, including phase switching, can be controlled either directly on the unit when mounted on a pedalboard, or remotely by MIDI program change (or control change) commands sent from a MIDI controller when placed in an amplifier or large rack system setup.

Other features include a TUNER OUT jack with constant low impedance output, a GROUND LIFT switch to isolate the A Output (the B Output is always ground lifted), a PHASE INVERT switch (MIDI controllable) to invert the phase of the "B" Output relative to the "A" Output, MIDI IN and THRU DIN jacks, and a MIDI preset (program) STORE button. Two onboard footswitch buttons toggle between A/B and A+B/MUTE.

縲
・Minimum Operating Voltage：9VDC
・Nominal Operating Voltage：9.6VDC
・Maximum Operating Voltage：12VDC
・Typical Current Draw: 100mA @ 9VDC
DC Adapter (sold separately): 2.1 x 5.5mm barrel plug, center negative
Weight: 454g
・Dimensions (W x D x H): 121 x 96 x 49mm
・ Switch Height (not included in the "H" in the size chart above): 18mm

The JB-82S is a successor model that further improves the convenience of the JB-82, which popularized the signal junction box product.
With the renewal, the JB-82 only allowed you to connect the instrument to the INPUT on one side, but this has now been changed so that you can choose to connect it on either side.
The JB-82S has been modified to also support two-line, stereo signals, allowing connection of balanced audio line signals and amplifier control signals using stereo plugs.

The signal junction box is the product that FREE THE TONE has custom manufactured most often to date.
Many musicians use it as part of their pedal boards or rack systems.
Packed with over 10 years of accumulated know-how, it offers the best sound quality and convenience.

<Why are signal junction boxes needed?>
By consolidating the inputs and outputs connected to your pedal board in one place, you have the following advantages:
This simplifies the wiring between devices and reduces the time required for setup.
By connecting through a junction box rather than directly to effects pedals that are arranged in a small space on the pedal board, damage to cables and plugs can be reduced.

<Changes from the previous version JB-82>
■Previously, the instrument could only be connected to the INPUT on one side, but this has now been changed so that you can choose to connect to either side.
■ Terminal 4 (8) has been changed to support stereo (TRS). This makes it possible to connect control signals such as those for switching amplifier channels using a stereo plug.
■The DIN 5-pin connector has been changed to a DIN 7-pin connector. It can now be used for both MIDI signals (5-pin) and ARC-3 LINK (7-pin).

<JB-82S specifications>
Terminals: Audio line (mono phone jack) 6 systems, (stereo phone jack) 2 systems
　DIN 7-pin connector (for MIDI/ARC-3 LINK) x 2
●Size: 120W x 77D x 56H mm (including protrusions such as jacks)
-Weight: about 450g

Voodoo Lab / Pedal Power 2 Plus is a long-selling power supply that is popular with guitarists around the world. Its stable, noise-free power supply maximizes the inherent potential of your effects.
■Power supply for guitar effects
■Pedal Power Series
■ Features
The industry standard power supply that continues to be chosen by guitarists and pedal board builders around the world
- Fully isolated design prevents interference between sound quality between effects units
- Each output uses a custom toroidal transformer with a magnetic coil for extremely low noise, providing a noiseless power supply.
- Uses a linear power supply that generates almost no ripple or noise, providing clean and stable power at the highest audio level.
- Equipped with short circuit protection to protect the effector
- Two DC outputs of the same voltage and current can be connected with a voltage doubling cable (sold separately) to output 2V or 18V.
Number of DC outputs: 8
・1 to 4: 9V/12V 100mA x4 (12V / Boss ACA compatible when rear DIP switch is set to AWAY)
・5～6：9V/12V 250mA x2 (12V with rear DIP switch set to AWAY / Compatible with stompbox modelers such as Line 6 DL4)
・7～8：9V 100mA with SAG function x2 (9V 100mA when DIP switch is NORMAL / SAG function is activated when DIP switch is AWAY and can be adjusted between 9V and 4V)
■Accessories: Power cable - 5.5 x 2.1mm center negative LS DC cable (8 pieces), 1 year warranty
■ Body size: W152xD86xH44mm
■本体重量：0.91kg