SONIC RESEARCH TURBO TUNER ST-200 STROBOSCOPIC PEDAL WITH BOX
$200.00
Great condition and original box and manual for this America made stroboscopic tuner . A True Strobe Tuner in a Stompbox Format Super bright LED display readable in direct sunlight Pop-Free True Bypass Flexible Output: Muted output with quiet relay switching or signal passthrough (no mute) Chromatic and guitar/bass modes Fully programmable for alternate tunings and temperaments USB port for ease of customizing Extreme accuracy: ±.02 cents guaranteed Rugged die-cast aluminum case Dual power jacks
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PRICE REDUCED – Amt Slap Bass Overdrive and Compressor Pedal with box
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 Mu-tron Green Octavider Pedal with original box
Very rare and sought after green (version 3) mu-tron octavider pedal with the original box in perfect condition. The OCTAVIDER creates a thick analog octave-down and a fuzzy ring modulated octave-up tone , in a pedalboard-friendly size and powered by industry-standard 9V DC. The OCTAVIDER pairs amazingly well with the Micro-Tron III and tracks steady on guitar, bass, keyboards and horns. Turn your instrument into a fat monophonic synthesizer. The Mu-Tron OCTAVIDER makes the full, harmonically rich option of “playing in octaves” available to all horn and stringed instrument players. This live effect is created by newly developed circuitry that analyzes the original signal and “pairs” it with the note one octave below, matching tone color and dynamics over an exceptionally wide range. The unique “stabilization” circuit (patent pending) enables the Mu-Tron OCTAVIDER to “lock into” the musical tone and sound a simultaneous sub-octave with accuracy that is not found in any other device. An important advance in electronic music technology, the OCTAVIDER has the same quality, ruggedness, and reliability that makes Mu-Tron the first choice of professional musicians. The RINGER Provides multiple effects of distortion, extra note generation, and a kind of “octave up” effect. RINGER effect is added to output, regardless of MIX. The more “pure” the instrument tone, the stronger the “octave up” effect. For the strongest “octave up”, turn MIX full down to eliminate the originally played register.STRINGED INSTRUMENTS: neck pick-up tone down, volume up full. (GUITAR, play from tenth fret up on all strings.) Two notes played simultaneously will beat with each other, producing “extra” notes. Try parallel fourths, fifths, or other simple chords. MIX full up.WIND INSTRUMENTS: play with clear “round” tone. The OCTAVIDER can be used successfully with many other devices, but the OCTAVIDER must be the first to receive the signal from the instrument. The OCTAVIDER followed by a Micro-Tron III or a Mu-Tron BI-PHASE are especially effective. Features: The ability to preserve dynamics and harmonic content of the original signal in the sub-octave. A stabilization circuit that “locks into” all single-voiced signals. A tone color control for sub-octave. A ringer circuit for harmonic emphasis of upper tones, and special multi-note effects. A novel mixing circuit with BASS ONLY switch for extended range and dramatic effects. Auxiliary impedance-compensated output. LED (light emitting diode) indicators to show operating status of effects. 89V DC powered in rugged Mu-Tron enclosure. Controls: Mix controls the mix between the direct signal and the effect signal Tone (Lo-Hi) controls the tone Ringer (On/Off) adds slight octave up and fuzz tone Stabilize (On/Off) provides note tracking stability Bass Only (On/Off) takes out the input signal Specifications: 1/4″ Input Jack 1/4″ Output Jack 9V DC Weight: 1 lbs Dimensions: 4.75″ x 2.5″ x 2.25″
PRICE REDUCED – Sovtek Tall Font Big Muff Fuzz Pedal
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Electro Harmonix White Finger Compressor with Wooden Box
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Fulltone Fulldrive 2 MOSFET Overdrive Pedal
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Great American hand made built pedal , very clean and perfectly working. Housed in a beautiful powder coated Blue 16ga. steel enclosure, the dual-channel Full-Drive 2 Mosfet gives you the best of both worlds. The first channel is the Overdrive Mode, capable of clean boost or non-compressed overdrive or choose light to medium softer overdrives all while retaining your guitar’s original tone. The Tone knob is a very effective presence control that can smooth out or add upper harmonics. The second channel is the “Boost Mode” with its own separate distortion control for medium to higher gains with a more singing violin-like sustain! One mini-toggle lets you choose between a “Vintage” FD2 sound with mid-heavy tones that cut through the mix and “FM (flat-mids)” for a more natural, transparent sound that works awesome with a Strat’s neck pickup. The other mini-toggle lets you choose between Mosfet and Normal clipping modes. Normal mode is even more asymmetrical, sweeter and more open, with no “blanket” over the sound. And, of course, the FD2-Mosfet features super-bright LEDs and Fulltone’s exclusive “no-thump/no-pop” True Bypass switches. We are the first to offer a switchable “Boost” Channel in an overdrive and the first only to manufacture our own Super-Duty 3PDT footswitch allowing True-Bypass plus LED
Rare Blue Fulltone BassDrive pedal – Serial 299
Original Fulltone Bassdrive from the first Run. These early ones have a blue casing like the FULLDRIVE , different knobs, a push pull comp cut instead of a switch and bass drive on a label instead of printed directly on the pedal. The pedal works flawless and has a few scratches on the outside. Serial number is #299.
Rare Endangered Audio Research AD4096 MKII Analog Delay
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A super rare version 2 of the already rare EAR Ad4096. Has been a staple on my board for years but I have recently downsized and doesn’t fit any longer. Took me ages to find one and has been the best delay I have ever used. insanely good. It works with both instrument and line level applications, meaning you can use it for guitar, keyboards, and even pro-audio mixing. The new Mix knob allows you to fade between dry and wet signals – perfect for dialing in just the right amount of delay, or capturing the wet only sound for a mix buss. The Loop jack allows you to add effects inside the delay loop. This means if you put a pitch shifter pedal inside the loop, every time the repeat goes around the loop, it will be transposed again and again. You can even add another AD4096 mk2 (or your old AD4096) inside the delay loop for a multi-tap delay sound. The bypass switch is now buffered to allow for delay tails and looping, and to prevent bypass clicking. The way the bypass switch works is programmed by two of the controls on the DIP switch on the back of the pedal. The Infinity Mode you know and love can now be used as to get the “sound on sound” when using the TAILS DIP switch. The Filter switch applies a fixed high pass filter to the incoming signal before it passes to the delay loop to cut out muddy bass frequencies. Use the Clear dip switch to cut even more low frequency. Expression pedal inputs are provided for the Time, Rate, Depth, Mix and Repeats controls, allowing you to bring life to your performance, and do some really interesting things, including real-time analog pitch bending that sounds like tape warble! An upcoming affordable companion pedal will allow you to store and recall tempos for the delay time through the tap tempo input. You’ll also be able to stay lock-step with your DAW at a precise BPM. You can also send click track from your DAW to the Clock input on the delay pedal. To top it all off, this hand-made, through-hole component, all-analog pedal will have beautiful colored rocker switches and will be housed in a box designed by Endangered Audio Research and handmade locally in the mountains of Asheville, North Carolina. Also, the custom-molded unique rectangle light lens will pulse with the tempo of the delay with a specially-selected LED that looks like a soft white incandescent bulb. FEATURES Knobs: Time – Up to 800ms of delay time Mix – Fades between wet and dry signals Repeats – Controls the amount of feedback in the delay line Depth – Controls the amount of modulation in the delay line Rate – Controls the speed or ratio of the modulation Voice – Adds the AD4096 “ECHO” voice as an independent sub mix that allows some incredibly unique mixing options for the voices. Rocker Switches: Feedback – Switches the feedback loop of the delay line out for many unique effects, pitch bends and chorus without delay Filter – Applies a high-pass filter to the signal as it enters the delay loop (not within the delay loop). Dry signal is unaffected by the filter. Infinity – Turns sound-on-sound infinitely sustaining delay mode on or off. Multitap – sends both BBD outputs to the Repeats and Mix similar to a multi head tape delay. Footswitches: Bypass – Buffered bypass switch. The switch is buffered to allow delay tails and to prevent the dreaded true-bypass clicking. The switch is also softer than a true-bypass switch and smooth and easy to switch. Expand – Soft switch that increases Repeats to 100% at a rate determined by the delay time. This level can be controlled by the Mix. Tempo – Tap Tempo footswitch with ratios Jacks: Input – Audio in Output – Audio out Modulation Rate Expression Pedal – Controls the modulation rate or ratio remotely Modulation Depth Expression Pedal – Controls the modulation depth remotely Clock Input – Accepts external clock signals to sync the delay time Time Expression Pedal – control delay time remotely Repeats Expression Pedal – control repeats remotely Loop – Use an insert cable to patch the delay line through other effects Mix Expression Pedal – control the effect mix remotely Power – Requires industry standard Tip Negative 9VDC 115mA. Power supply not included. Note: When using expression pedals, the control knob on the pedal can be used to scale the range of the expression pedal. DIP Switches: Delay Ratio – programs one of four delay ratios Delay Ratio – programs one of four delay ratios Mod Ratio – Switches the Modulation Rate control between varible and ratio mode Offset – this will offset the modulation waveform relative to the delay time Tails – On/Off Clear – Intensifies the low frequency cut when using the Filter Note: – the two delay ratio switches are used in combination to program tempo ratios 1:1 Quarter Note 3:4 Dotted Eighth 1:3 Eighth Note Triplet 2:3 Quarter Note Triplet Light: Rectangular incandescent-looking white light that indicates on/off state as well as blinking the delay tempo Pedal Dimensions L 162mm (6 1/4″) W 154mm (6″) H 73mm (2 7/8″)
PRICE LOWERED – 1969 AMPEG SCRAMBLER FUZZ PEDAL
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.
MUSITRONICS MUTRON BI-PHASE PHASER WITH RARE TEMPLATES AND ORIGINAL FOOTSWITCH
A really amazing and rare piece of gear, made in the 70s by Musitronics in the 70s and in great condition. Comes with the original and extremely hard to find templates and the tap switch. All original beside a replaced knob (the sweep one). The Bi-Phase has plenty of control features, both internal and external, including the ability to control the sweep using the optional Opti-Pot optical foot pedal for wah-style monster phasing. The two independent sweep generators can be used singly or coupled with a choice of sine or square waves. Compared to other phaser pedals of the era such as the MXR Phase 90 and the Electro Harmonix Small Stone – both compact one pot compact units – the Bi-Phase is a complex behemoth. Like its legendary contemporaries, it sounded fabulous and distinctive, and its place in the pantheon of great guitar pedals was assured. However, its flexibility and myriad features, combined with exceptional sonic performance, meant it was destined to be far more than just a guitar pedal, earning the Bi-Phase a place in the rarefied realm of studio classics.
Endangered Audio Research AD4096 Analog Delay With Original Box
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Up for sale is a Endangered Audio Research AD4096 Analog Delay with the original box. Easily the best delay pedal you can put your hands on. This very rare and no longer made pedal is incredible warm yet well defined analog delay capable of up to 400 ms of echo repeats. The pedal has several unique features such as: 1. Two unique delay lines: “Delay” which is full and warm and “Echo” which is thinner. Of course you can mix hem together since each of then has their own mix knob. 2. infinity switch which enables the pedal to keep a small part of the delay to echo forever for a a reverb style effect. Amazing if you love shoegazing. 3. self-oscillation Foot switch – The left footswitch is a momentary switch which calls upon an auto oscillation, based on the settings of your delay time and your repeats (Depth). The pedal is in very good shape, some cosmetic blemishes but nothing serious, it takes 9V power (Don’t give it more!)