Early silver screw ce2 chorus made by Boss in 1981.
This 42 years old pedal features the original black label made in japan and the long dash name.
These 79-81 have become the most sought after version of the ce2.
All original, works like new
Early silver screw ce2 chorus made by Boss in 1981.
This 42 years old pedal features the original black label made in japan and the long dash name.
These 79-81 have become the most sought after version of the ce2.
All original, works like new
Amazing tall font big muff made by sovtek in Russia in the 90s, the real deal. It’s a great sounding one, i have had a few and this one is a tone monster . Works like new and it’s in remarkable condition for is age. All original , just missing battery lid like 99.99% of them
A Blast from the past, the original Ampeg Scrambler Fuzz from 1969 in amazing condition and with an unreal sound. This is one of those 2000 units from the original run from 1969 . This one is all original beside a new foot switch and an added 9v barrel to easily connect it to your pedalboard power supply without having to munch through too many batteries. 1969 saw two, now classic fuzz pedals make their way onto the scene; The Electro Harmonix Big Muff and the Ampeg Scrambler. Both had a loud and aggressive sound which was perfect for filling up any jumbo-sized arenas, and standing out among all the thin and raspy first-wave-fuzz’s from a few years earlier. Although the Big Muff is probably the single most popular distortion effect of all time, the Scrambler was so unique and forward thinking that it deserves its own spotlight… A little history about these rare and iconic pedals: Already adept at making amplifiers, Ampeg was going for big changes in late 1968 when they set out to build “the most powerful amp ever made!”. Jumping from their usual 50-watt setup to the titanic 300-watt, tube filled machine called the SVT, they were now ready for the Summer of Love. In addition to this monster, they decided to jump on the fuzz bandwagon and release the Ampeg Scrambler in early-1969. It is rumored that only around 2,000 units were produced. Where the Big Muff went for a fatter, thicker amp-like tone, the Ampeg Scrambler boasted a huge upper-octave fuzz circuit. And although similar fuzzes were available by 1969, including the Univox Super Fuzz, the Octavia by Roger Mayer, and the Fender Blender, none had the overall raw character or versatility of the Ampeg Scrambler. With the ability to go from a burly Muff-style overdrive to an all out octave splatter fest, there really was nothing like it.
Rare and discontinued Russian pedal.
Comes with original box.
The Slap Bass Compressor Pedal is a specialized effect designed for bassists who use funk and slap techniques.
It instantly provides the compression, depth, and snappy attack this playing style requires.
It can be used by non-slap players for distortion with its adjustable drive level.
It’s also an amazing tool for guitar players, allowing them to plug directly into their recorder and lay down a quick bass track.
Built-in cabinet emulation circuitry ensures that it sounds equally good whether run through an amp or used for direct recording.
FEATURES Gives your bass a tone perfect for slap Provides compression, depth, and snappy attack Built-in cab emulation
SPECIFICATIONS Dimensions: 3-1/2″ W x 2-4/5″ H x 4-2/5″ L (90mm. x 72mm. x 112mm.) Weight: 15 oz. Control: Level, Low, High, Drive Jacks: Input, Output Power: DC 9V, 9V Battery or PSA (-) center Adapter
Rare and barely used BD-1 Bass Drive Battery Free Pedal made by Pete Cornish , with Original Box and manual. The BD-1™ is not a variant of any existing product but a completely new and original design. Initially designed for Bass Guitar, the BD-1™ has also proved very popular with Baritone Guitars and dropped tuned Guitars when heavy overdrive is required at the lower frequencies of these instruments. With Germanium components for added musicality this new design features full Bottom-End retention and is flat down to below the bottom B on five string basses. The tone controls are very powerful and feature an active boost and cut with a combined range of 34dB at maximum settings. Being active, the two tone bands can be both cut and boosted as desired with the zero or neutral point being 12 o’clock on each control knob. I have included a second linear boost stage after the tone circuit to compensate for any reduction in overall volume when the tones are in “cut” mode. The benefits of this active tone circuit, compared to the usual passive (Cut only) tone circuit is that the two bands are completely independent and there is no interaction between the Bass and Treble tone controls. An output Master Volume is included to allow for perfect matching between bypassed and overdriven and EQ’d signal level and there is plenty of signal headroom available to overdrive amp inputs if required. My well established Class A input buffer and radio frequency suppressor is, of course, included and the output buffer impedance is low to easily drive long cables or other loads without loss of signal or tone. TECHNICAL SPECIFICATIONS: Overall boost with Gain = 100% and Volume = 100% is +55 dB {Reference: input = -52dBm(V) and output = +3dBm(V)} Overall boost with Gain = 0% and Volume = 100% is +19 dB {Reference: input = -16dBm(V) and output = +3dBm(V)} The above with Bass and Treble set to 50% (Neutral point). Bass Control range +16/-13dB @ 30Hz Treble Control range +12/-18dB @ 3KHz Maximum signal output with Volume 100% is +10dBm(V)/ 2.5vrms/6v Peak to Peak (at clip point) FEATURES: High Impedance RFI rejecting input and bypass buffer. Each unit is hand built, wired and tested by Pete, Lynda and Mingus Cornish. Housed in a Rugged Die-cast box with easy to set Number Knobs. Heavy Duty all-metal footswitch with Hi-Brite LED. Dimensions: 145 X 95 X 49 mm
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