If you’re reading this, you must be getting ready to party like it’s 1983.

We’ve kept your original, dry signal path analog and pure, then given you a +21db boost/overdrive preamp to smash a low fidelity digital delay chip designed for karaoke machines and kids’ toys into smeared, repeated glory. Yeah, we’re going back in time – back to when they measured data in KILOBYTES!

This pedal is VERY capable of fun runaway oscillations, both by turning up the summation knob, or a controlled, high-pass filtered oscillation from the Havoc momentary foot switch. If you’ve ever struggled to make your delays come through prominently in the mix, or lost definition from your original signal, the attack and level controls can allow you to dial up everything from crisp, clean slapbacks to dirty, muted echoes and loud, powerful repeats. A beautiful, subtle modulation circuit courtesy of our friend Jack DeVille also sweetens the repeats with just the right amount of movement.

Review by effectsdatabase

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Kilobyte Lo-Fi Delay

Tired of your fuzz getting lost in the mix? Wish you could just pour molten sonic gravy from your speakers? Imagine classic Muff-style fuzziness with the punch of a classic overdrive, and you have Shigeharu™.

Using a cascading hybrid of op-amp and BC184 transistor gain stages, Shigeharu provides all the sweet singing sustain and massive flamethrower gain you crave, but with unprecedented clarity, improved punch and definition, and consistent performance wherever it sits in your signal chain – even after buffers or wireless units. Combine that with the parallel octave-up voiced fuzz available on demand with the Havoc* stomp and you have a whole lot of nasty right here.

Two extra controls reside inside the pedal – a bias/gate control for dialing up broken, spitty sounds, and a slide switch that locks the octave-up “on” and converts the momentary to a kill/mute switch. Shigeharu™ was designed in collaboration with our friend John Snyder at Electronic Audio Experiments, because this thing was fearsome enough to compel us to seek a second opinion.

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Shigeharu

What is more powerful: the pedal, or the mighty foot of the player who steps upon it?

For years we have had players ask us if our pedals are appropriate for use in praise and worship settings. We have considered such a question blasphemous, as Crom is an angry deity who lives inside a mountaintop, who doesn’t concern himself with the matters of mere mortals, and cannot be bothered to hear their pleas for help, their prayers for vengeance, or anything that might resemble a song of praise or devotion.

CROM is a BC184 Supa Tone Bender style fuzzstortion like our original Olympia™, but with a classic tweed amp style tone control (MOUNTAIN) that interacts with the SWORD (gain) control. It is a LOT less lossy and less scooped than the classic M*ff style tone control in these circuits, giving the pedal an immediate and punchy response. A TURBO button on the side gives it extra power and gain.

Review by Guitarworld

Crom

When we talked about doing a special "California Pizza" for our good friends at Cottonwood Music, we initially resisted the idea, as we didn’t want to make a pedal that might make you feel like you’re stuck eating a thin crust pizza at the airport for a layover. We wanted to offer our distinctive pizza fuzz drive, but with a late 1980s California flair and sound. We’re talking small town kids with big dreams and bigger hair arriving on the Sunset Strip. Doing the Neutron Dance. Beverly Hills Cop II. Shiny, but also dirty on the underside. Think back to Night Flight, Cannon Films productions, "tastefully" airbrushed photos and bands touring with road cases of ozone depleting hair-spray. Now *that’s* the spirit of the CALIFORNIA 'ZA

We tweaked the internals with the gain control of our Hawaiian Pizza and used some VERY high gain transistors to give this thing lots of extra heat, extra hair, and extra shine, 80s California style. Keep the "Bear" control low and it’s actually bright and sparkly at the (relatively) lower gain settings. Feed those chord strums to your rack unit choruses and delays and write a power ballad for all the slow dances at the prom. Turn it all the way up and it’s chewy and roaring just like our Hawaiian Pizza fuzz but with some extra nastiness bordering on profane. But roll it back just a touch, and surprise! You’re getting the sound of peeling out of the suburban shopping malls in your IROC-Z, jean jacket and Vuarnets, cause nobody in that food court’s gonna tell you what to do! And with that "Cocktails and Dreams" colorway and graphics, your pedal board is going to appreciate that shot of polish and danger that the California 'Za is gonna bring.

Should you want those wooly, nouveau classic Pizza tones, starve the palm trees, crank the bear, and get those broken fuzz sounds. If the California 'Za can’t be the first pedal in your signal chain, fear not: just switch the internal pickup simulator on and you’ll be ready for stacking with other pedals or even having a wireless system before this thing.

California 'ZA

Alpha Gain is an expansion and revisitation of our Icarus 2.x drives, but greatly expanding the range and control of the pedal via the mode switch. 

The pedal clips the signal via an op-amp drive section and an array of silicon and Russian germanium diodes, while a second gain stage provides a lot of output and clean boost to push an amplifier. The UK mode amps up the drive side (roughly 2.5x the previous version's maximum gain), lightens and tightens the bass a touch, and makes the output easier to dial closer to unity or for a more of a controlled volume jumps. The USA side takes the power and applies it to the second gain stage. The gain is tailored to be closer to our Parabola’s preamp section, but optimized for the silicon and germanium clipping array, and with the tone control for fine tuning. The thing gets plenty loud, but is fuller frequency and stays clean until you mean it. 

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Kilobyte Lo-Fi Delay

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California 'ZA

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