Gael Desbiens-le Chevoir

That harmonica pedalboard is designed for Rock and Blues music.
Four pedals are specifically designed for harmonica: Alpha Wolf, Wilde Drive, HP-2 and Feedback PI.

Two pedals are built by Lone Wolf Blues Company in US:

The Wilde Drive offers an agressive overdrive complemented by a touch of hall echo effect, utilizing a tube.

The Alpha Wolf provides overdrive with reverb, also featuring a tube.

Three of these pedals are handmade:
- HP-2  Harp Preamp by Mozztronics in Australia
- Feedback PI by Rod Harp Effects in Chile
- Amygdala by FTelettronica in Italy

The HP-2 serves as a preamp delivering the classic Chicago Blues sound.

The Feedback PI includes an active notch filter,  a noise gate and a volume knob.

The beautiful Amygdala is a three-in-one Looper/Blender in series with input buffer.

Saint Louis

Die überarbeiteten RockBoard® MODs V2 sind einfache all-in-one Patchbays für die RockBoard Pedalboard Series mit einem neuen, überarbeiteten Design und einem kompakten Gehäuse. Passend für alle neuen RockBoards® (außer der DUO-Serie) mit einem MOD-Slot, bieten sie als komfortable Patchbay verschiedene Kabelverbindungen, um eine weite Reihe von Bedürfnissen abzudecken. Mit den RockBoard® MODs kannst du deine Pedale dauerhaft unter dem Board verkabeln und alle Verbindungen zu und von deinem Effektsetup in einem praktischen Modul organisieren. Die RockBoard® MODs bieten einen zentralen Zugangspunkt vom Instrument zum Verstärker sowie eine praktische und einfache Stromversorgung des Boards über einen IEC- und einen 2,1 x 5,5 Barrel-Through-Stromanschluss. Das RockBoard® MOD 1 V2 ist eine Pass-Through-Box, die speziell für Gitarristen und Bassisten entwickelt wurde. Du kannst das MOD 1 V2 nutzen um mehrere Pedale deines Setups im Front End und im Effekt-Loop des Verstärkers zu postieren (4-Kabel Methode) oder die vier TRS-Anschlüsse als zentralen Zugang und Ausgang des Boards nutzen. Die XLR-Through-Verbindung kann als Signalausgang vom Pedalboard zum Mischpult oder zur PA verwendet werden.
- All-in-One Patchbay für Pedalboards
- passend für MOD slots in RockBoard Pedalboards
- kompatibel mit einer weiten Reihe and anderen Pedalboards
- fungiert als zentraler Zugangspunkt zu deinem Effekt Setup
- etabliert klare Kabelwege zum und vom Pedalboard
- abnehmbare Frontplatte für Montage auf oder unter Pedalboards
- 5 x 6,3 mm TRS thru
- 1 x XLR thru (männlich vorne / weiblich hinten)
- 1 x DC 2,1 x 5,5 mm barrel thru
- 1 x AC IEC thru (male front / female back)
- alle Anschlüsse gespiegelt auf der Rückseite
- Abmessungen exkl. Frontplatte (B x T x H): 160 x 60 x 33 mm
- Abmessungen der Frontplatte (B x H): 175 x 48 mm
- Gewicht 450 g
- inkl. Montageschrauben, Kontermuttern und TX Schlüssel

The improved RockBoard® MODs V2 are simple all-in-one patchbays for RockBoard pedalboards with a new, refreshed design, and compact housing. Utilizing the MOD slot on all new RockBoards® (except the DUO series), they provide various cable connections to fit a wide variety of needs as a convenient patchbay. With the RockBoard® MODs, you can permanently connect your pedals underneath your board and organize all connections to and from your effects setup in one convenient module. The RockBoard® MODs provide a central access point from your instrument to your amp, as well as your power supply via IEC, and a 2.1 x 5.5 barrel thru power connector. The RockBoard® MOD 1 V2 is a pass-thru box especially designed for guitar and bass players. It can also be used to run several pedals from your board through the effects loop of your amp, or as a central access point to your pedalboard via its 4x TRS thru connections. The XLR thru connection can be used as signal output from your pedalboard to the console or PA.
- all-in-one patchbay for pedalboards 
- fits MOD slots in RockBoard pedalboards
- compatible with a wide variety of other pedalboards
- acts as the central access point to your effects setup
- establishes clean cable paths to and from the pedal board
- detachable front plate for mounting on top or underneath pedalboards
- 5 x 6,3 mm / ¼" TRS thru
- 1 x XLR thru (male front / female back)
- 1 x DC 2,1 x 5,5 mm barrel thru
- 1 x AC IEC thru (male front / female back)
- all connections mirrored on the backside
- dimensions excl. front plate (W x D x H): 160 x 60 x 33 mm / 6 19/64" x 2 23/64" x 1 19/64"
- dimensions of the front plate (W x H): 175 x 48 mm / 6 57/64" x 1 57/64"
- weight 450 g / 0.99 lbs
- incl. mounting screws, counter nuts, and TX wrench

All-in-One TRS & XLR, IEC & Barrel Patchbay

Harmonica Blues & Rock

Special 6 Ultra

Special 6 Ultra Clean

Tristan NDinga

Ampero multi-effects processor proved itself to be a game changer for its huge tone, great versatility and tiny size. Since first launched, it quickly become popular among both starters and pro musicians. For the best possible portability, the footswitch amount on Ampero is limited – however for the players who want more flexibility on this unit, that's not enough…So here it comes the Ampero Switch, Ampero's best pal!

The Ampero Switch is an ultra compact momentary footswitch controller designed not only for Ampero, but also for other devices with momentary footswitch controller support. Featuring the same Aluminum casing and appearance theme design, Ampero Switch definitely matches your Ampero's vibe perfectly. Carefully selected footswitches and other components ensure comfortable switching and excellent endurance.

It's quite simple: connect the TRS jack to Ampero's EXP 2/FS jack with the attached TRS cable, then enter Global menu, find EXP 2/FS sub menu, set MODE to Dual FS. After this, you can assign any function you need to the footswitches.

HOTONE

Manual

Demo by HotoneAudio

Product Page

FS-1 Ampero Switch

ch ray

Triple active looper with

– input buffer
– BLEND and LEVEL control for each channel
– a phase switch for each channel to avoid counterphases
– double output to split signal into two amps

FTelettronica

Amygdala

Der Feedback P.I. ist ein Gerät, das dir hilft, die Bedrohung durch Rückkopplung auf jeder Bühne zu eliminieren. Es kombiniert alle drei Haupt­ansätze zur Bekämpfung von Feedback in einem Gehäuse: einen aktiven Kerbfilter (Notch-Filter), ein Noise Gate und einen Vol-Knopf, der als PAD fungieren kann. Der aktive Kerbfilter beseitigt die grundlegenden Frequenzen, die Feedback verursachen. Das Noise Gate fungiert als Lebensversicherung, indem es das Signal abschneidet, während du nicht spielst. Der Vol-Knopf geht nur ein paar dB über Einheit, sodass er als PAD verwendet werden kann, wenn du gezwungen bist, einen Verstärker mit höherer Verstärkung zu nutzen.

The Feedback P.I is a device that will help you eliminate the threat of feedback on any stage. It combines the three main approaches for fighting feedback all in one box: an active notch filter, a noise gate, and a Vol knob that can act as a PAD. The active notch filter will take care of the fundamental frequencies that are causing feedback. The Noise Gate acts as a life insurance, cutting the signal while you are not playing. The Vol knob goes just a couple of decibels above unity, so it can be used as a PAD if you are forced to use a higher gain amp.

Rod Harp Effects  

Official Product Video

Feedback P.I.

QuickMount Type B

Pedal-Montageplatte für Standard-Einzelpedale

Pedal Mounting Plate For Standard Single Pedals

Lone Wolf Blues Company

Wilde Drive

Der HP-2 Leo Sayer Signature Harp Preamp ist ein speziell für Mundharmonika und Mikrofon ausgelegtes Vorverstärker-Pedal, das in Zusammenarbeit mit Leo Sayer entwickelt wurde. Er verwendet drei JFET-Stufen im reinen Class-A-Betrieb, um das Klangverhalten eines niederwattigen Röhrenverstärkers inklusive Lautsprecher-Reaktion nachzubilden. Ein CABSIM-Schalter erlaubt die Simulation lautsprecherbedingter Klangcharakteristik ein- oder auszuschalten. Der Eingang erfolgt über eine ¼″-Buchse für Mikro/Harpa, zwei Ausgänge sind verfügbar: ¼″ zur Amp-Verbindung sowie ein voll symmetrischer XLR-Ausgang für PA oder Mixer. Bedienelemente umfassen GAIN, einen 4-Band-Baxandall-EQ (Bass, Tief-Mitte, Hoch-Mitte, Höhen), VOLUME und eine LIFT-Funktion (Erdungshebung) für den XLR-Ausgang.

The HP-2 Leo Sayer Signature Harp Preamp is a specialist preamp pedal designed for harmonica and mic use, created in conjunction with Leo Sayer. It uses 3 stages of JFET circuitry operating in pure Class A to emulate the sound and feel of a low-wattage valve amp including speaker response. A CABSIM switch allows the speaker-simulation to be engaged or bypassed. The input is a ¼″ socket for mic/harp and there are two outputs: a ¼″ amp-out plus a fully balanced XLR designed for PA or mixer use. Controls include GAIN, a 4-band Baxandall EQ (Bass, Lo-Mid, Hi-Mid, Treble), VOLUME and a LIFT (ground-lift) for the XLR output.

Mozztronics

Demo by Pete Towers

HP-2 HARP PREAMP

Tester

Electro-Harmonix

1440 Stereo Looper

PedalSafe Type C

QuickMount Type C

Pedalmontageplatte für große vertikale Pedale

Pedal Mounting Plate For Large Vertical Pedals

Schutzabdeckung & RockBoard-Montageplatte für große vertikale Pedale

Protective Cover & RockBoard Mounting Plate For Large Vertical Pedals

Schutzabdeckung & universelle Montageplatte für große vertikale Pedale

Protective Cover & Universal Mounting Plate For Large Vertical Pedals

Steve Dunk

Demo by Ronnie Shellist

Alpha Wolf

Bring professional drums to your pedalboard. Built like a guitar pedal
stompbox, the BeatBuddy delivers authentic, studio-quality drum beats
wherever you play. Experiment with 220+ styles and 24 genres to find
your perfect match. Customize your performance with fills, transitions,
intros and outros by simply tapping your foot.

BeatBuddy’s dynamic, award-winning samples play in 24-bit studio-grade sound with
32-bit floating point processing. Utilize near-endless memory to add up
to 3 million songs using an SD card. Included BeatBuddy Manager software
lets you create and edit custom beats, create set lists and more.

Singular Sound

Review by Guitar Interactive Mag

Review by Sound on Sound

Demo by  60 Cycle Hum

Demo by  Zach Wirchak

Demo by Karl Golden Music

Beat Buddy

M242 Iso-Brick Pro

Für 7-12 FX-Pedale, 1 MOD-Slot - **470 x 330 mm / 18.50" x 12.99"** - erhältlich mit Gig Bag oder Flight Case

For 7 - 12 FX pedals, 1 MOD slot - **470 x 330 mm / 18.50" x 12.99"** - available with Gig Bag or Flight Case

Es gibt einige hochgeschätzte Kompressoren in Studios, oft alte Röhrengeräte mit optischem Element, die leicht einzustellen waren und immer gut klangen. Mozztronics wollte das Wesentliche dieser alten Vakuumröhrenkompressoren in einem Transistor‑Schaltkreis einfangen. Der Kompressor eignet sich sowohl für Gitarre als auch Bass und bietet umfangreiche Bedienelemente sowie einen RANGE‑Schalter und einen DYNamics‑Regler für vielseitigen Einsatz.

There are a few revered compressors used in studios. Many of these are the old valve (vacuum tube) units that used an optical element for the compression. These compressors were easy to dial in, and no matter what setting you put the controls at, they never sounded bad. Mozztronics set out to capture the essence of these old vacuum tube compressors in a solid‑state circuit. The compressor is useful for both guitar and bass and includes a full range of controls along with a RANGE switch and DYNamics control for versatility. 

Demo by Pedal of the Day

Demo by TheSuperFunAwesomeHappyTimePedalShow

Review by Pedal of the Day

CO-2 OPTO COMP

Using a 12AX7 tube, and powered from an external 15VAC to 16VAC supply, this pedal runs the tube at proper amplifier High Voltages, for that real tube sound. We’ve gone old school here, we use circuits that were used to generate high voltage in old time television sets to generate the high voltage for the tube in this pedal.
There is no diode clipping in this unit, just tube compression and overdrive. We use a transistor as an output buffer and apart from that everything else in the signal path is what you would expect in a proper “tube” amplifier.

TD-2 Tube Dreiver

There is one main control on this pedal,   BOOST,   which goes from 0dB boost to 27dB boost. We added a CONTOUR switch, so the boost signal can be full range, or with a slight bass cut at around 160Hz. We use a similar technology to that used in class G power amps inside this beast so we can get the massive clean output we wanted.

We included an always on “full range” buffer so if the pedal is used at the end of the pedal board, we can drive long cables back to an amp without loss of tone, or if the pedal is used at the start of the pedal board, it will buffer the guitar so as to maintain high impedance loading on the guitar to avoid loss of tone.