You know how the old saying goes: you can never have too many pedals, right?
Here at Andertons Music Co, we love pedals as much as the next player (or arguably more so). There’s nothing we love more than an array of colourful effects and stompboxes that we can tap dance with! While some effects are designed to subtly improve your tone, there’s the occasional pedal that’ll warp your tone beyond recognition.
You may have spent weeks, months or years tweaking your pedals to attain that sound you’ve been after, but what about when they’re bypassed? It’s long been a hot topic of discussion among guitarists and tone aficionados. The idea of your tone being affected/diminished in some way by having a long signal chain with multiple stops along the way seems logical. So what’s the answer?
Hypothesis: Having more pedals in your chain weakens your signal volume and quality.
We’ll be conducting a number of experiments to get to the bottom of this age-old tonal conundrum. Pedals have become more and more popular over the years, arguably for obvious reasons. While plugging a guitar into the front of a cranked up valve amp appeals to the no-frills rockstar inside each of us, the idea of sculpting your tone with a variety of stompboxes has proven an irresistible formula.
So what happens when you take a clear signal that runs from your guitar to your amp, and put loads of fun stuff in between? When you turn them on, it sounds great (unless they’re all fuzz pedals – that’s an acquired taste); but when you flick them back off, does your guitar sound the same? That’s what we’ll be exploring with this experiment. While there a number of variables to consider (which we’ll look into shortly), the main thing we’ll be analysing is the number of pedals used, and how that affects tone.
What is ‘Tone Suck’?
Tone suck is a popular term for the very thing we’re trying to debunk. It’s the idea of losing some signal integrity by plugging a pedal / a number of pedals. While there are possibly more professional terms to use, this is the one that gets thrown around most often. Mention it in a room full of guitarists and you’re in for a lengthy debate.
Guitar pedals are a cocktail of capacitors, transistors, soldering and digital processing. It seems only natural that a signal running through all of that would be affected in some way, right? Some pedals have more going on inside, and many argue that pedals with cheaper components have more of a negative effect on your tone. Plug in a cheap old overdrive pedal and leave it switched off – you might just hear a difference!
What are buffered & true bypass pedals?
Buffered & true bypass circuity is designed to combat any form of ‘tone suck’. The idea of buffered circuitry is give a slight boost to your tone, ensuring that any subsequent signal loss has been pre-preemptively accounted for. While this ensures that your signal remains clear and strong, it can also colour it slightly. A more popular option, wherever available, is a true bypass pedal. As the term suggests, this means that your signal passes through the pedal totally uninterrupted – you can even remove a power source, and you’ll still be going!
How does an FX loop work?
An FX loop is another tool used by guitarists to ensure preservation of signal strength and clarity. It’s become a hugely popular feature on many modern guitar amps.
Most guitar amplifiers consist of a pre-amp and a power amp. The pre-amp is what gives you your tone, and the power amp is what converts it into amplified sound. If you plug pedals into the front of your amp, those effects go through the preamp, thus compromising your precious tone.
The FX loop gets in between the two amp components, mean your pedals are only added after the pre-amp, preserving your tone and providing an arguably clearer signal. This could be considered subjective, as many guitarists don’t mind the colouration of running your board in to the front of an amp! Many tonal purists actually divide their effects, running overdrive and dynamic stuff through the front end, and ambience and modulation effects through the loop. For the sake of simplicity, we’ll be running everything through the front of our amp, as we’re not concerned about the effects themselves!
- Number of pedals – as we’ve already mentioned, if having pedals in your chain affects your tone in some way, the number of pedals is bound to make a difference. That’s why we’ll be testing a number of different signal chains with varying amounts of pedals involved. This will (in theory) give us a clearer overview of the results.
- Types of pedals – analog vs digital, cheap vs expensive, fuzz vs modulation, and so on. You’d be forgiven for thinking that a bypassed fuzz pedal might make a bigger difference to tone than a digital reverb. We’ll be using a curated selection of pedals that cover every category, price point and configuration wherever possible.
- Cable quality – we recently conducted a similar experiment, looking at how different types of cable affect tone. The Stagg SGC6 6m surprisingly came out on top – we’ll be using these in our experiment.
- Power Supply – many perceive daisy-chain power supplies to be noisier than isolated ones. On the recommendation of our video team, we’ll be using the Truetone 1 Spot Pro CS12.
There will be a carefully picked selection of pedals that cover the 4 main categories: dynamic, overdrive, modulation and ambience. There will be 4 pedals in each category – here’s the list:
- Dynamic pedals: Xotic EP Booster, MXR Dyna Comp Mini, Origin Cali76 Paradiso, Fender The Bends Compressor
- Overdrive pedals: JHS Angry Charlie, Mythos Golden Fleece, Way Huge Russian Pickle, Keeley D&M Drive
- Modulation pedals: T-Rex Tremster, Walrus Audio Julia Chorus/Vibrato, Mooer Trelicopter, MXR Uni-Vibe
- Ambient pedals: Walrus Audio Fathom Reverb, Alexander Pedals Quadrant Delay, GFI System Clockwork Delay V2, Tone City Tiny Spring
These pedals will then be arranged into 4 signal chains of different lengths. We’ll select the same number of pedals from each category for each chain to keep it fair and varied. It’s worth pausing for a reminder at this point; as colourful as this selection is, it’ll be totally bypassed – switched off – for the duration of the experiment. Boring, we know – but it’s in the same of science. We might switch them all on at the end just for fun…
For each signal chain, we’ll play a few of snippets of playing, covering both clean and distorted tones. With all of this in mind, we’re hoping to get a really broad overview of how the size of your pedalboard affects your sound! The amp we used was a Fender Hot Rod Deluxe IV, mic’d up using a Shure SM7B. So without further ado, let’s get cracking!
We’ll start off by looking at the video; below you’ll find a list of timestamps that specify which signal chain you’re hearing.
- 0:34 – 4 pedals, clean
- 0:53 – 4 pedals, clean chords
- 1:21 – 4 pedals, overdrive lead
- 1:31 – 4 pedals, overdrive chords
- 1:47 – 8 pedals, clean
- 2:04 – 8 pedals, clean chords
- 2:30 – 8 pedals, overdrive lead
- 2:40 – 8 pedals, overdrive chords
- 2:55 – 12 pedals, clean
- 3:13 – 12 pedals, clean chords
- 3:40 – 12 pedals, overdrive lead
- 3:51 – 12 pedals, overdrive chords
- 4:08 – 16 pedals, clean
- 4:26 – 16 pedals, clean chords
- 4:52 – 16 pedals, overdrive lead
- 5:13 – 16 pedals, overdrive chords
- 5:32 – everything on for a bit of fun!
4 pedal signal chain: 4 pedals: Fender The Bends Compressor > Keeley D&M Drive > T-Rex Tremster > Walrus Audio Fathom Reverb
This is the starting point. As previously noted, there are 4 snippets of playing; clean picking, clean chords, distorted picking and distorted chords. As this is step one, we’ll essentially be treating this as our control test, so to speak. When we reach the end of the experiment, we’ll compare it to this chain and see what the difference is!
For reference, we’ll be taking some analytic EQ readings; this will hopefully expose any differences in frequency response that our ears can’t detect. Here are the readings for the 4 pedal signal chain:
8 pedal signal chain: Fender The Bends Compressor > Origin Cali76 Paradiso > Mythos Golden Fleeze Fuzz > Keeley D&M Drive > MXR Uni-Vibe > T-Rex Tremster > Walrus Audio Fathom Reverb > GFI System Clockwork Delay V2
Our first impression is that there’s no notable difference, at least to our ears. There’s almost a hint of extra fizz to the sound, but at this stage it’s difficul to say whether that’s the placebo effect or not!
Upon closer inspection, we feintly noticed a slight emphasis on the midrange frequencies. The sound was a tad more ‘honky’ so to speak, albeit a very minor difference. Let’s take a look at the EQ readings:
These readings seem to confirm the presence of a slight midrange boost. This is most likely as a result of buffered bypass circuitry, whereby pedals that are bypassed are designed to boost the signal going through them prevent loss of quality. Ironically in this case, it seems to have slightly coloured the tone rather than preserve it.
12 pedal signal chain: Fender The Bends Compressor > Xotic EP Booster > Origin Cali76 Paradiso > Mythos Golden Fleeze Fuzz > Way Huge Russian Pickle > Keeley D&M Drive > MXR Uni-Vibe > Walrus Audio Julia Chorus/Vibrato > T-Rex Tremster > Walrus Audio Fathom Reverb > GFI System Clockwork Delay V2 > Tone City Tiny Spring
Again, we’ll start by saying that the noticeable difference here was extremely minor. When we listened more closely, we percieved a feint loss in top-end sparkle, as well as some ‘body’ lost in the lows & low mids. Let’s see if the EQ analysis confirmed this:
For the most part, this does seem to be the case. A slight loss of top-end clarity, plus a shrinking in the low and low-mid frequences (20-200Hz). While it does show up for the clean playing, it’s more evident with the distorted samples. So what happened when we added 4 more?
16 pedals: Fender The Bends Compressor > Xotic EP Booster > MXR Dyna Comp Mini > Origin Cali76 Paradiso > Mythos Golden Fleeze Fuzz > Way Huge Russian Pickle > Keeley D&M Drive > JHS Angry Charlie > MXR Uni-Vibe > Mooer Trelicopter > Walrus Audio Julia Chorus/Vibrato > T-Rex Tremster > Walrus Audio Fathom Reverb > GFI System Clockwork Delay V2 > Tone City Tiny Spring > Alexander Pedals Quadrant Delay
With the addition of 4 extra pedals, we see the trend change slightly. There’s a slight reduction in top-end clarity, as we saw before, and at this point, we also noticed that the signal was slightly more timid in strength and volume. Over to you, EQ:
Again, the EQ seemed to confirm a slight loss in signal strength and top-end clarity. But it also picked up on something that we didn’t notice; an apparent boost in the low and low-mid frequencies. This is more apparent with the distorted samples, but it’s unexpected nonetheless. Again, this is likely to be due to buffered circuitry in the mixture pedals that we used.
The evidence we’ve compiled using video, analytic EQ and our own ears seems to show some interesting and unexpected results. In the grand scheme of things, however, we think it’s safe to say that the difference was negligeble. Many of the differences were picked up by the EQ that we didn’t perceive, which speaks volumes in many ways; these are differences that the average player simply wouldn’t notice.
Despite the arguably negligeble difference that was made to our guitar signal, our conclusion has to come back to our original hypothesis:
Having more effects in your chain weakens your signal volume and quality.
From what we can tell, the number of pedals in your chain doesn’t necessarily weaken your signal, but we can objectively say that it does affect it in a number of ways. We noticed a gradual (albeit feint) decline in volume and punchiness, as well as a softening of the top-end, but by the end of it we saw an increase in low-end presence.
While we were able to come to some sort of conclusion, conducting this experiment was a learning curve in terms of process. Consistency was key in getting reliable results, so with the benefit of hindsight, we realised that we could achieve better results using different methods:
- Record loops rather than play for each chain; that way, we’ll get maximum consistency throughout the experiment
- Taking EQ analytic screeshots at the same timed points in the recordings – again, this will ensure consistency
- Elaborate on the other variables mentioned earlier in the article; bypass, FX loops etc.
We may well experiment with these points in the future to see if we can dig a little deeper – thanks for reading, folks!
What do you think about the results of this test? Leave a comment and share your thoughts!
- Fender The Bends Compressor Pedal
- Guitar Pedals
- Compression Pedals
- [video_8]Here's what Fender say about the Bends Compressor Pedal:Dynamics are a crucial part of playing music. When controlled they bring music to life, but uneven or wild playing can ruin a performance. We put our expertise to work creating The Bends Compressor, a studio-quality stompbox that tames wild volume spikes without altering your tone. Drive and Recovery controls let you dial in the perfect amount of compression to complement your playing style and extend sustain, while the Blend control lets you mix in the dry signal to maintain your natural pick attack. The Amp Jewel LED changes color from white to pink along with your playing to help show when the compression circuit is engaged and how long your signal is affected.Designed by our in-house team of experts, The Bends Compressor is an all-original circuit. We consulted with a plethora of players while designing this pedal, and the resulting stompbox is packed with stage-ready features.The chassis is crafted from lightweight, durable anodized aluminium, and the Amp Jewel LED gives your pedalboard the classic Fender look. The LED-backlit knobs show your control settings on a dark stage at a glance. We even made swapping batteries quicker and easier with our exclusive “patent applied for”, magneticallylatched 9V battery door.Control your dynamics with The Bends Compressor, the latest sound-sculpting offering from Fender.SpecificationsEffect Type: CompressorControls: Drive, Recovery, Blend (Dry/Comp), Output Level, BypassFootswitchInputs: 1 x ¼” InstrumentOutputs: 1 x ¼” InstrumentPower Requirements: 9-Volt Battery or DC Negative AC AdaptorPower Consumption: 15mAInput Impedance: 1M ohmOutput Impedance: 1k ohmMaterial: Anodized AluminiumColor: Black
- Xotic EP Booster Pedal
- Guitar Pedals
- Boost Pedals
- Based on the classic Echoplex EP3 Preamp
- Pure and simple, built from high quality components this booster offers up to 20db of gain without messing up your tone. Internal switches allow you to shape the EQ curve of the pedal and a low profile and versatile operating voltage means it will fit neatly onto your pedalboard. A top quality preamp or solo boost as used by the pros.Heres what Xotic say about the EP BoosterWhat do the tones of renowned guitarists such as Page, EVH and Johnson have in common? They all used the legendary echo machine EP-3 as a pre-amp. Weve captured that magic in a new Xotic Effects pedal, the EP Booster.Weve used the highest quality parts available with a discrete FET design and low impedance output, the EP Booster provides up to +20dB of unadulterated boost with multi-dimensional, shimmering highs and lows, and no ear fatigue. The internal DIP switches let you choose the boost frequencies, and EQ settings.Housed in a small 3.5x 1.5 x 1.5 case with blue LED and transparent knob, the EP Booster can be powered by 9-volt up to 18-volts.A simple pure boost that pays reverence to the magical EP-3 and captures the celebrated tones of the worlds most famous players. The EP-Booster,great tone starts here!SpecificationsDimensions (W/D/H): 3.5 x 1.5 x 1.5 (89mm X 38mm X 38mm) Weight: 0.57 lbs. (260g) True Bypass Switching Power Consumption: 9VDC/5mA Battery Type: 9VDC (006P) x 1 AC Adapter (Optional): 9VDC-18VDC, Negative Tips (Regulated recommended) Input Impedance: 1M ohm Output Impedance: 1k ohm
- That Pedal Show
- Xotic Pedal Power Supply Offer (Power Supply)
- MXR Dyna Comp Mini
- Guitar Pedals
- Compression Pedals
- Heres what MXR say about the Dyna Comp MiniThe Dyna Comp Mini Compressor combines the best of classic tone and modern convenience in a housing that’s nearly half the size of the original. Thanks to its rare CA3080 “metal can” integrated circuit (IC), this pedal yields quieter operation, greater transparency, and increased dynamic range. An all-new Attack switch toggles between slow and fast attack times.Classic MXR compression in a space-saving mini housingFeatures rare CA3080 “metal can” IC for quieter operation, greater transparency, and increased dynamic rangeAll-new Attack switch toggles between slow and fast attack timesComes with ECB003 adapter
- January Sale
- Origin Effects Cali 76 Compact Deluxe in Guitar Paradiso Finish
- Origin Effects
- Guitar Pedals
- Compression Pedals
- Limited Edition
- The Cali76 is regarded as one of, if not the best footswitch compressor available on the market today and is now available in this limited edition Guitar Paradiso finish! Guitar Paradiso is a fan favourite show on our YouTube Channel - Andertons TV. The amazing people at Origin Effects have created their flagship pedal in a finish that pays tribute to the stunning hawaiian shirts worn on Andertons TV. The pedal was designed in order to give you a useable, high-quality compressor, without too much messing around with knobs that are hard to understand.The Cali76 Compact Deluxe will allow you to fine tune the compression on your guitar by separately adjusting the attack, release and ratio. You can take the pedal from mildly squashed for sustaining to solos to super-compressed funk.Origin Effects modelled their compressor after the famed 1176, and even matched the compression curves from their pedals to the 1176. The Jewel Light MeterThe Jewel light will act as a VU meter for you to visually monitor how much your signal is being compressed. If you want less compression and more dynamics, you can then turn down the ratio switch and push more dry signal into your amp.No Battery For Good ReasonThe Cali76 is a mains powered pedal only. It doesn't have a 9v battery slot, so that they could use the space for higher grade components, and so that they could have a high-current approach. Higher current will yield purer signal, and true tone!They've also made the pedal flexible in terms of the voltage it uses. So you can run the pedal on 9v or 18v and this will affect the sound of your compression in quite a big way.The easiest way to remember it is, if you use it on 18v you will have more headroom and a slightly more 'open' sounding compressor.Here's What Origin Effects Say About The Cali76 DeluxeThe Cali76 Compact Deluxe is an 1176-style studio-grade FET compressor Featuring high-current, low-noise, discrete Class-A circuitry and a dedicated parallel compression control… all contained in one compact, stompbox-sized package!We’ve managed to build all of the functionality from our flagship Cali76 Standard into this little marvel – and we’ve added the much-requested parallel mix control previously only found on our limited editions.Separate controls for Attack, Release and Ratio let you precisely tailor your tone, from transparent transient control to flat-out limiting and monster sustain. Meanwhile, the elegant jewel lamp functions as an intuitive three-colour gain reduction meter.Specifications100% Class-A discrete signal pathLimited Edition Paradiso FinishClassic, ultra fast “FET” responseStudio-grade discrete-transistor preampDedicated Attack, Release and Ratio controlsDry Blend control for parallel compressionRugged jewel-lamp gain reduction meteringOptimised for guitar but can process any sourceHigh-current, low-noise electronicsUltra-wide frequency responseUltra-high input impedanceSilent switchingHigh-quality “signal-conditioning” bypass modePremium components throughoutAdvanced power supply filtering and protectionFlexible external power requirements (9-18V DC)PSU Spec. 77mA @ 9V / 104mA @ 18VDesigned and built in England
- Limited Edition!
- Mythos Golden Fleece Overdrive Fuzz Pedal
- Mythos Pedals
- Guitar Pedals
- Fuzz Pedals
- A fuzz pedal that reacts beautifully to your playing dynamics resulting in a warm, purring overdrive. Sounds too good to be true right? But the Golden Fleece from Mythos really toes the line between fuzz and overdrive pedal. The pedal has one control for master volume, so all the tone and gain control comes from you and your guitar. Back off the volume and the tone cleans right up. Attack the strings for a full, rich fuzz.Having a single knob pedal that has the versatility to cover clean, overdrive and fuzz in one go is absolutely killer. You can avoid that painful ‘finding your sound’ period during setup too, just plug in, set the master volume and play.Here’s what Mythos say about the Golden FleeceThe Golden Fleece is the newest edition to the Mythos lineup. This completely hand wired circuit that skirts the line between overdrive and fuzz. Based on a much talked about pedal used by Wilcos Nels Cline this simple one knob unit lives in your guitars volume and tone controls. The knob on the unit is a master volume that does slightly shift the unit’s response but the Golden Fleece cleans up better than almost any other fuzz out there. Very balanced tone that doesnt change your guitar’s sound just gives you a biting, yet full sound that would work for any genre of music.
- No Promotion
- Way Huge Russian Pickle Fuzz Pedal
- Way Huge
- Way Huge Electronics
- Huge, engulfing fuzz tone with smooth highs & boomy lows
- The Way Huge Russian Pickle derives from the heavily sought-after Sovtek Russian Big Muff fuzz boxes of decades past. Renowned for producing a smoother fuzz tone with less top-end and more boomy lows, Way Huge have lovingly recreated this iconic circuit with amazing conviction.No-Nonsense ControlsOver-complicating a fuzz stompbox is just wrong, which is why Way Huge have kept things simple with a 3-knob control set. The Volume is self-explanatory, allowing you to set the total output of the pedal. This means that you can carefully balance the huge, engulfing fuzz tone with your unaffected clean sound, or set the pedal a lot louder for hair-raising, Nirvana-esque dynamic contrast. The Distortion knob increases the amount of glorious fuzz offered by this green, mean machine! Set it high for a super-saturated fuzz tone, adding plenty of rich harmonic content to chords for Smashing Pumpkins-style textures. If that's too over-the-top however, setting it low will reduce the amount of sustain, giving more punch to single-note riffs and taming the amount of feedback.A Tone control sits between these two essentials, letting you adjust the amount of treble and presence. Keep it low for a smooth, creamy fuzz tone that's ideal for warm leads, or crank it for a snarling and mid-focused sound that can effortlessly cut through the mix.OperationYou can power this pedal with a power supply or via a conventional 9V battery. As its current draw is so low at 1.8mA, the battery will have great longevity, so if you're not a pedal fanatic with a large collection or board, this will last a long time without mains power.Here's what Way Huge say about the Russian Pickle Fuzz Pedal:The Russian-Pickle Fuzz dishes out smooth, creamy fuzz tones with a clear midrange to cut through the mix and a fat bottom end that keeps your sound thick and full.With a no-nonsense interface featuring Volume, Tone, and Distortion controls, you can quickly dial in your sound and get to playing. Bass players, take note—this pedal has enough low end to tremble the earth. Whether you’re going for ’90s-era grunge, swinging stoner grooves, or raw two-piece garage rock riffage, the Russian-Pickle Fuzz is the perfect comrade for your pedalboard.SpecificationsInput Impedance: 42kOutput Impedance: 50kNoise Floor: -80dBVBypass: True Hardwire RelayDimensions: 5" x 3-1/4" x 2-1/2"Weight: 12.2 ozCurrent Draw: 1.8mAPower Supply: 9V
- As Seen On Andertons TV
- Keeley D&M Drive - That Pedal Show Signature Overdrive Pedal
- Keeley Electronics
- Guitar Pedals
- Overdrive and Distortion Pedals
- Keeley Electronics have teamed up with YouTube pedal fanatics Dan Steinhardt and Mick Taylor (of ‘That Pedal Show’ fame) and created their very own pedal - the D&M Drive!With the success of their YouTube channel bringing together players who just adore pedals, Keeley generously offered Dan and Mick the chance to design their very own signature pedal, and here it is! With the D&M Drive split into 2 sides, you get an extremely versatile overdrive circuit on one side with a unique-sounding boost on the other.And the best part? They are completely independent. So you can stack both sides together for a fuller and more harmonically rich tone, and even change the order of the circuits for incredible tone-shaping possibilities.[video_8]2 Pedals in 1!The D&M Drive is split into 2 sides, with Dan’s side delivering the Overdrive and Mick’s providing the Boost. Each side has independent Gain, Level and Tone controls, ensuring that you can get the best out of each side without compromising the other.The Overdrive provides everything you’d want from a potent gain stage. It can range from moderate low-gain to incredibly hot distorted tones! Set the gain low for a crunchy rhythm tone, with the pedal bringing out rich harmonics for chord-based riffing. Turn up the gain to achieve a gorgeous, saturated lead tone with amazing sustain and clarity.The Boost side has a unique voice of its own. If you imagine Keeley’s renowned Katana Boost combined with a vintage germanium-style overdrive - that is the sound of Mick’s Boost circuit. With a huge amount of headroom available, you can get super bold lead tones using the boost, with its strong mid-range punch letting your solos cut through the mix and get heard.Stack your Overdrives:“Stacking Overdrives” is a subject that Mick and Dan have covered frequently in their show. This is where you run overdrive/distortion units into one another, and together they achieve a richer cascading tone with more saturation.This is why Keeley designed their signature pedal this way, and you can run the two sides together and even change the order – so boost before overdrive, or overdrive before boost! This just gives you more tonal options and versatility, so you can experiment with your sound and get a great tone no matter what!Independent Circuits:The two circuits are completely independent of one another, so for example if you want just the boost side engaged on top of your amp’s distortion channel (Tubescreamer style), you can do that.Another cool feature of the pedal is the switching capabilities. Daniel Steinhardt made his name designing his innovative GigRig switching systems, and with some dual-style pedals you cannot split the two sides when running them into the loop of a switcher unit. However, Keeley made sure that the pedal has TRS insert cables, so that with the G2 system you can configure the D&M drive to act as 2 standalone pedals. Talk about flexible!Here's what Keeley say about the D&M Drive:The D&M Drive is the perfect storm of Drive and Boost. The D&M offers a gorgeous sounding high voltage Boost side designed to impart the perfect tone on any amp that needs to be pushed. No longer will you wonder what the perfect clean boost should be. As you roll things up, the drive morphs your tone into singing gold. A sexy and smoothly saturated midrange voice appears that breathes confidence. The Drive side offers everything you’d want in a powerful gain stage. From flat honest overdrive perfect for any set of chords to searing hot lead work with tons of sustain. The Drive is the perfect counterpoint to the Boost. Not only does each side of the pedal provide rewarding guitar tones, they can be used to stack together for an out-of-world experience. The pro switching system developed for the D&M Drive allows you to select which side of the pedal comes first and in fact you can configure the pedal to work in a pro-switching system like the G2 for independent pedal use!That Boost:Looking for something in between a clean boost like the high voltage Keeley Katana and a germanium modded professional overdrive? The D&am
- As Seen On Andertons TV
- JHS Pedals Angry Charlie Overdrive / Distortion v3
- JHS Pedals
- Guitar Pedals
- Overdrive and Distortion Pedals
- The Angry Charlie has become a staple of the JHS line over the years. In the V3, we set out to keep everything that has made it a star in place while adding some tweaks for even greater flexibility and usability. The V3 is a force to be reckoned with in the high gain pedal territory. It convincingly and accurately breathes JCM800 tones with ease. The Angry Charlie has five controls: Volume, Drive, Bass, Mids and Treble. The Volume control acts as a standard master volume control on an amplifier. Simply turn the control to the right and you are louder, turn it to the left and you are quieter. The Drive control decides the amount of overall dirt/overdrive that enters the signal path. Turn it up for more distortion and down for less. New to the V3 are the Bass, Mids, and Treble controls. To faithfully replicate a Marshall amplifier we felt it was time to incorporate a full Marshall-style tone stack. All three of these controls act as a cut and boost, while at noon they are relatively flat. The right 1/4 jack is the input, and the left is the output.If you are a glutton for high gain overdrive/distortion that has a British flavor full of rich bass response, thick mids, and a balanced high-end response, the Angry Charlie V3 will change your life. Well, your gear life.This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2x4.3x1.5.
- No Promotion
- MXR M68 Univibe Chorus/Vibrato Pedal
- Guitar Pedals
- Chorus Pedals
- The MXR M68 Univibe recreates the iconic effect in a simple to use and small footprint pedal. With a variety of operating modes and three simple to use but powerful controls you can get the exact tones youre after whether its straight down the line classic Univibe sounds or something unique! Heres what MXR say about the univibeThe Uni-Vibe Chorus/Vibrato is one of the most iconic effects in music history. Since the late 60s, groundbreaking guitar players have used it to expand the tonal and textural palette of the electric guitar. The MXR team has just remastered the classic effect for modern players. The MXR Chorus/Vibrato delivers the same chewy, Leslie-sounding goodness with a smaller footprint. With its simple three-knob interface, you can dial up the iconic effect to your taste in short order. First, use the VIBE switch to select either Chorus Mode-dry signal mixed with pitch-shifted signal-or Vibrato Mode-only pitch-shifted signal. Then, use the LEVEL control to set the effect volume, the SPEED control to set the sweep rate, and the DEPTH control to set overall intensity. The MXR Uni-Vibe Chorus/Vibrato comes in a Phase 90-sized housing-a fraction of the size and weight of the original Uni-Vibe pedal-and features true bypass switching. Perfect for taking this lush, swirly pedal out on the road.
- That Pedal Show
- Half Price Power Supply with MXR Pedals
- Mooer Trelicopter Optical Tremolo Pedal
- Guitar Pedals
- Tremolo Pedals
- The Mooer Trelicopter is small but mighty optical tremolo with bias control! The bias controls what makes old vintage Fender amp tremolos so good with non symmetrical waveform! Control over speed and depth too allows you to tailor your sound whether you want subtle or overblown!Please note the all Mooer micro series pedals must be powered by 9V DC (not supplied) as they are too small for battery compartments!SpecificationClassic optical tremolo with huge range of speeds and depthsBIAS knob brings various color of the tremolo soundFull metal shellVery small and exquisiteTrue bypassDC 9V Adapter power supplyInput: 1/4” monaural jack (impedance: 1M Ohms)Output: 1/4” monaural jack (impedance: 1k Ohms)Power Requirements: AC adapter 9V DC (center minus plug)Current Draw: 5mADimensions: 93.5mm (D) × 42mm (W) × 52mm (H)Weight: 160gSo What kind of Power Supply do I need???As weve said above, the Mooer pedals are too small to fit a 9v battery in, so you need to use these with a compatible 9v power supply. You may already have one for an old pedal, but if you need to buy a new one, you can choose anything from a single 9v supply for about £10, or if you plan on buying a few pedals, then you should look at some of the multi pedal power supplies that we sell - these will work out much cheaper than buying an individual supply for each pedal as well as being much neater as youll only need one plug socket for all your pedals! Our full selection of FX pedal power supplies can be viewed here - https://www.andertons.co.uk/power-supplies/cid591/power-supplies.asp#page-1
- No Promotion
- Walrus Audio Julia Analog Chorus / Vibrato
- Walrus Audio
- Guitar Pedals
- Chorus Pedals
- Heres what Walrus Audio say about the Julia Analog Chorus / VibratoThe Julia is a fully analog, feature-rich chorus/vibrato packed with a wide array of tonal landscapes begging to be explored. She is able to produce mild smooth chorus, to seasick vibrato and everywhere in between. With controls like Lag, Dry-Chorus-Vibrato Blend, and selectable analog LFO wave shapes, you are able to dial in all types of classic and unique chorus/vibrato sounds; some settings giving a familiar feel while others are not found on traditional chorus pedals.A special feature of the Julia is the Lag control. The Lag knob lets you set the center delay time that the LFO effect modulates from. From smooth and tight modulation at lower settings, to warbling detune at maximum, the Lag knob adds a new dimension to the traditional Chorus/Vibrato landscape. While most chorus/vibrato pedals offer a toggle to go between the two effects, we’ve provided a knob to blend between Dry, Chorus, into Vibrato (labeled d-c-v on the pedal). The Dry-Chorus-Vibrato Blend changes the ratio of dry to wet signal sent to the output. At minimum, you will hear no effect. Set it to noon for equal parts dry and wet – the traditional chorus setting. Set it to maximum for 100% wet – the traditional vibrato setting. Explore the ground between minimum and noon for adding slight amounts of movement to your dry signal (also making the Julia great on bass guitar). Explore the ground between noon and maximum for all sorts of unheard chorus/vibrato combinations.The Julia comes in a deep lavender colored enclosure with surf green ink, featuring original artwork of the water mystery, Julia revealing the tip of her hand telling more of her true story.SpecsExact size of the diecast enclosure is 4.77” x 2.9” x 2.3”. Power requirements are 9VDC (30mA minimum)
- Andertons TV SOUND LIKE
- T-Rex Tremster 'Tremster' Tremolo - Danish Collection
- T Rex
- Handbuilt reissue of one the first T-Rex pedals!
- T-Rex is a small company with big ideas; based in Denmark, they've produced some of the most popular (and eye-catching) guitar pedals in the world. For 2018, they've reissued some of their earliest trailblazing effects in the form of hand-built stompboxes that sound every bit as luscious as you can imagine!The Tremster TremoloThe Tremster is T-Rex's take on the classic tremolo pedal sound that harkens back to the valve amp sound of the '50s and '60s. Uniquely, T-Rex have tweaked the waveforms used to determine the modulation of your signal; softness around the peaks while remaining abrupt. This means that you get a velvety smooth sound that's unmistakable without being intrusive!Even when the depth is cranked, it remains smooth in its response. This means it can be very easily applied to your guitar regardless of your preferred playing style, and it'll sit in any mix without any rhythmic interruption. As well as this, T-Rex have used a dynamic pulsating LED so you can see the pedal's response in real-time. This is a simple pedal with analog circuitry and a straightforward interface - the magic is in the sound! Key Features:“The red one” - Natural, organic tremolo effectHandbuilt in DenmarkTrue bypassReproduction of the original Tremster circuitSelected parts match or surpass the old ones in quality/soundHere's what T-Rex have to say about the Tremster:This pedal is a reissue of one of the very first stompbox series made by T-Rex. They were handmade in Vejle, Denmark using local suppliers and “local” employees such as family members and friends of T-Rex founders Lars and Sebastian. Yes, the old, sought-after Mudhoneys, Albertas and Tremsters were made in a smokey, low-key environment filled with passion and late-night soldering. We´re talking small scale, big expectations, here.The reissue pedals use the same leaded components and parts as the old ones, but are wave soldered for higher precision and quality. The bypass circuit has been changed to a true bypass design, but other than that, it´s just like the old days. We even stuck in some resistor values that were “slightly off the mark” but contributed to the sound in a very positive way.We are very proud to give re-birth to these three classics in “the right way” by doing the work ourselves in Vejle, Denmark. We hope they will keep the legacy of our red, blue and yellow “babies” alive while giving players a second chance for owning one of them.Specifications:ControlsDepth: Adjusts the depth of the volume modulationSpeed: Adjusts how fast the tremolo pulsatesVolume: Adjusts the output levelMode: Switches between hard/soft tremoloTechnicalInput impedance 500 K OhmOutput impedance 1 K OhmPower supply 9 VDC . 2,1 mm barrel plug .Current draw @ 9 VDC 7 mAMaximum input signal Vp-p 1.7 Vp-pBattery type / Battery life 9 V battery 6F22 / 12-16 hoursExternal connectors Input jack, Output jack, 9 VDC JackControls On/Off, Volume, Speed, Depth, ModeUnit size and weight (W x H x D) 100 x 55 x 120 mm / 3.9 x 2.2 x 4.7 in0,450 kg / 15.9 oz
- Walrus Audio Fathom Multi-Function Reverb Pedal
- Walrus Audio
- Walrus Audio
- The Fathom Reverb is a multi-function reverb pedal from boutique pedal wizards - Walrus Audio. It's a must-have for any ambient guitarist as you're able to achieve brand new reverb tones that you'd struggle to get from any other pedal but also has incredibly useable hall and plate verb sounds too. Get ExperimentalAmbient and experimental players are catered for with the Lo-Fi and Sonar reverb sounds. Sonar reverb is fed with high and low octaves and the ability to blend the octaves with the X Knob for some truly otherworldly tones. Lo-Fi verb gives you a warm, thin AM sound that fattens up the reverb tone and gives you a stunning touch of grit and character to your reverb.[video_7]Modulation ToggleOne of the best ways to get your reverb tone to stand out is by adding a touch of modulation - like a chorusing effect - to the reverb in order for it to gain a subtle shimmer. The Fathom has a toggle that allows you to switch between Low, Medium and High modulation. You can also use the 'sustain' footswitch to extend your verbs for a dreamy ambient crescendo of tones.Here's what Walrus Audio say about the Fathom Reverb The Fathom is a feature-rich reverb with 4 different customized reverb algorithms to choose from. Easily go from tasteful, small room reverb to long, modulated trails dripping of ambient goodness. The toggle switch adds options for low, medium and high modulation. Use the dampen knob to fine tune the tone of the reverb's decay.The Fathom features 4 different algorithms.Hall - Wide, open and vast with decay that ends with high-frequency rolloff. X knob adjusts pre-delay.Plate - Full Body reverb with a smooth decay. X knob adjusts pre-delay.Lo-fi - Filtered reverb with decay ranging from warm, to thin AM-sounding radio. X knob adjusts filter width.Sonar - Reverb fed with both a high and low octave with the ability to blend the octaves with the X knob.Momentary Functions: When the pedal is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of reverb. Releasing the switch turns the effect off.Press and hold the Sustain Switch while the pedal is on, to sustain the reverb decay for a dreamy ambient decrescendo.Trails Mode:To turn trails mode on or off, unplug the pedal and press and hold down the Bypass Switch for two seconds while plugging the pedal back in.
- Tone City Tiny Spring Reverb Pedal
- Tone City
- Tone City
- Convincing Spring Reverb sounds from a tiny pedal!
- This pedal will not work with a 9V battery, and requires a 9V DC power supply (not included).Tone City are one of the more recent companies to establish themselves in the micro pedal scene. Their incredible value-for-money mixed with top-grade tones has made their pedals some of the most popular that we have seen in years.The Tone City Tiny Spring pedal is a great part of the lineup, offering realistic spring reverb sounds within a tiny stompbox. This makes it perfect for an already packed pedalboard that has space for just one more![video_8]Simple ControlsSpring reverbs have always had very simple control layouts, especially as original units were usually integrated into amplifiers. So to keep the feel the genuine, this pedal has just a single control which acts as a level and depth in one.Set this low and you'll get your classic F-style spring reverb, a distinctive sound that has been heard across countless albums. If you're not after a subtle reverb feel, turn it up to attain that cavernous surf rock sound - for when you really want to get noticed!Spring ResponseOne of the things that people love about spring reverb is how it responds, particularly when compared to a room or hall reverb. The early reflections and bright tone can work wonders on clean and crunch sounds, both in the studio and onstage.The Tone City Tiny Spring does a brilliant job of matching this response, so even if your amp doesn't have a massive reverb tank, you can still get that convincing spring-y tone.Small & PortableAll Tone City pedals are built in a micro pedal format, which not only helps to save precious real-estate on your pedalboard, but also keeps your bank balance healthy thanks to their amazingly low price. But don't worry, you don't lose any quality when going down to this small size or cost.The controls all use high-quality components, and with true bypass switching, your signal will stay as clean and pure as possible.Specifications:Technology: DigitalInput Impedance: 500kOutput Impedance: 10kMono / Stereo: Mono In, Mono OutControls: ReverbBypass Mode: True bypassPower supply: 9VDC, Centre negativePower Consumption: 95 mAHousing size: MiniDimensions WxHxD (cm): 4,2 x 5,2 x 9,3Country of Origin: Made in China
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