![The Bettie Fuzz by Gaspedals. No longer in production, apparently it’s a silicon-based fuzz. You now know as much about it as I do.
[image]](http://25.media.tumblr.com/tumblr_ld2ooqGcbU1qavzg6o1_500.jpg)
Diamond Pedals has been teasing their upcoming Marquis treble booster for some time. I love Diamond’s aesthetics- they look like the 60’s-era tools we used in high school shop.
This is the Interstellar Overdriver by Death by Audio.
The new models have 2 knobs, but this version only has one. That’s OK because it’s the biggest knob in the universe.
I realize this has nothing to do with guitar pedals, but;
I think I just fell in love with this A/V receiver.
Behold the Mosquite Blender from Japan’s One Control effects.
Not an effect in and of itself, but a true-bypass looper that gradually eases the loop signal into your chain via the knob control. This allows you to mix the wet signal with the dry, effectively adding a “mix” control to any of your other mono-knob wonders.
For some video demos, check out the YouTube channel.
Option 5 just revealed the Destination Bump, which does indeed have a knob, even if it is adorably teensy.
I love the miniature knob on this clean boost. These tiny knobs have a way of staying where they’re set, so stray toes can’t bump them around. The big knobs on the Phase 90 and friends are great because you can adjust them with your foot, but a pedal like a boost needs to have the same sound every time you switch it on.
This is Vox’s limited-run, out-of-production Brian May signature AC 30 amp.
It has just one knob.
It is a $2000+ amp with just one knob.
Rockett Pedals will soon release the SOS Buffer, which is designed to boost the impedance of your signal to deal with long cable runs or extensive pedal routing. Lovepedal and Road Rage both market buffers without any external controls, but Rockett adds an interesting “Recovery” knob that supposedly restores high frequencies lost from cabling and sub-par circuits.
After 10 years of builders pushing true-bypass pedals in response to the buffer circuits built into Boss and Ibanez pedals, it’s interesting that we’re seeing builders now marketing $190 buffer pedals to combat the problems associated with long lines of TBP pedals.
Cusack’s switch-less Louder “pedal” now has a physical form.
The Final Booster, by Japan-based Providence Effects, appears on the surface to be a boring old single-knob boost.
Claiming myserious voodoo powers via its “Vitalizer” circuit, the Final Boost is designed to sit last-in-line on your pedalboad, supposedly juicing up your signal with fairy dust (or multiband compression, you tell me) even when the pedal is off.
Whether or not this trickery actually works (or, if it justifies the $200US price tag), remains to be seen.
Still, I’m drawn to anything with the word “FINAL” screenprinted on it.
What’s missing from this picture?
Cusack is releasing a series of pedals without on/off switches, to be used with a bypass looper (like their monstrous Pedalboard Tamer). The single-knob Louder pedal pictured is Cusack’s More Louder clean boost, re-packaged into this always-on enclosure.
Ballsy, Cusack. Ballsy.
Another EHX Freeze demo, with bonus Mike Matthews.
A brief demo of the Electro-Harmonix Freeze, which we previewed last week.
Just previewed via What’s That Dude Play, this is a very exciting little number from EHX. Looks like a simple sample/hold device, but time will tell. Mysterious description follows:
The Freeze Sound Retainer delivers infinite sustain of any note or chord at the press of a momentary footswitch allowing users to capture a frozen moment and turn it into a tonally unique sonic foundation. Release the footswitch and you are again sample ready. Three selectable decay rates, including a latch mode, guarantee liquid-smooth tonal transitions
WTDP predicts the pedal to launch “later this month.”
Rocktron’s own Noise Reduction pedal, The Hush.
Rocktron has recently re-packaged the Hush into a more reasonably-sized enclosure, but the size, shape, and color of this model un-stick me in time, and send me back to the summer of 1998.
I am listening to Monster Magnet on a Discman. I am mowing a neighbor’s lawn. The sun is hot and driver’s ed is still 18 months away. I am counting my lawn-mowing profits as a I stare at the Effects section of a Musician’s Friend catalog. I see no need for noise reduction. I see a need for more knobs, more switches, more jacks.
It is 2010, and I am writing a blurb about a pedal I never owned, only glimpsed on much-turned pages.
