Distortion

Delicate enough to act as a boost or driver while responding to guitar controls Heavy enough to be a standalone distortion

A mid-gain amplifier, with a lot of tonal similarities to the Plexi and JCM800 valve amps that Marshall was producing at the time. It provides a pretty wide sonic palette, thanks to its two channel design, the "Tone" control knob on the lead channel, and the ability to partially bypass the tonestack, resulting in a mid-heavy, crunchy tone.

This preamp is based on the OD1 and OD2 channels of the original amplifier. Producing a very thick, saturated high gain tone, it was popular amongst metal bands in the mid-90's.

Based on yet another underrated "practice" amp, that found itself shaping the sound of the Scandinavian metal scene. When coupled with a quality speaker cab, inside we find a solid-state circuit that's one of the best ever built; aggressive tones, lots of variety and a wide range of tone control.

Provides fuzzy, warm and gritty distortion, perfect for grunge, stoner rock and everything in between. With the addition of a Boost switch, even more sounds are available on tap. Based on the Peavey* Decade practice amp.

High gain, tight and aggressive. Those are the words to describe the tone of the RG. The RGX100 provides the legendary sound of the high gain RG channel, in a compact pedal form. But that's not all, because we have improved upon the original... Based on the Randall* RG100ES.

Introducing the ICBM, a high-gain preamplifier pedal that captures the raw power and aggression of the legendary Randall Warhead X2 amplifier. The ICBM delivers the signature sonic brutality of Dimebag Darrell’s iconic amp in a compact, pedalboard-friendly format. Whether you're chugging through detuned riffs or soaring through high-gain solos, this pedal provides all the firepower you could possibly need.

Synonymous with stoner rock and doom metal, the Sunn Beta Lead is one of the most versatile amplifiers ever designed. The unique CMOS distortion circuit generates harmonically rich distortion, which is then shaped by an active EQ circuit with extremely wide range controls. The result is an amp that can go from sparkly clean, to edge of breakup, hard rock and pure fuzz with continuous sweeps of the controls.

Aggressive and focused. Another legendary circuit, the VH-140 utilized a novel gain stage design which was patented by Ampeg in the late 80's. Consisting of back-to-back zener clipping diodes, and a novel "dynamic bias" feature, the design produces an extremely hard clipping result, with lots of harmonics, and lots of gain.

We have always prided ourselves on refining and delivering the iconic tones of early 80s distortion boxes with our Rattler. Now, the snake has shed its old skin to usher in a new era of decadent saturation!

Zerre die auch tiefe Frequenzen kann. Das Einsatzgebiet ist jedoch nicht auf Bassgitarren beschränkt. Auch mit Synthesizern oder Gitarren macht das Pedal eine gute Figur.

A slew limiter smoothes out how quickly incoming voltage can change, limiting it to a fixed v/sec. slope. since time and frequency are intrinsically linked, this acts as a steep, somewhat distorted low pass filter.