The Catalinbread NiCompressor takes the sound of a legendary vintage circuit for unmistakable timbre and extensive sound options. The compression control adjusts the level of compression in a straight line so that the sweet spot can be found quickly and intuitively, whilst the Gain control provides harmonic overdrive if desired. The Catalinbread NiCompressor also features a 2-band tone control that lets you precisely tune the sound.

Nicholas Harris, founder of Catalinbread Effects, died on Wednesday after a tree fell onto his car 
this was like the last of his circuits and they are calling it Nic Compressor.. -let that sink in

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NiCompressor

Die Trident A-Range-Konsole beherrschte die britische Aufnahmeszene in den späten 60er bis frühen 80er Jahren, was zum Teil daran lag, wie gut sie die Dinge klingen ließ. Das Herz des Geräts besteht aus einem diskreten Germanium- und Transformator-Vorverstärker, der so eingestellt werden kann, dass er allen Geschmäckern gerecht wird, von den Tönen eines Lou Reed bis zu den unscharfen Ausrastern eines Frank Zappa. Und natürlich verzerren, sättigen und wummern Konsolenvorverstärker, wenn man sie antreibt, und triefen vor Obertönen und anderen erwünschten tonalen Artefakten. Unser Airstrip destilliert diese legendären Sounds in einen Konsolenvorverstärker im Stompbox-Format mit einer Handvoll Extras. Ein diskreter Operationsverstärker, der auf einem alten UREI-Design basiert, sorgt auf Wunsch für einen satten Gain am vorderen Ende der Konsole. Auf der Rückseite sorgt ein geschmackvoller Höhenfilter für die richtige Helligkeit des Vorverstärkers und ein speziell ausgewählter Übertrager verleiht dem Signal einen Hauch von Eisen. Der Airstrip kann jeden erdenklichen Gain-Sound erzeugen, von warmen, „gemasterten“ Cleans bis hin zu knorrigen, kollabierenden Fuzz-Sounds, und bringt das Mischpult in einem viel handlicheren Paket auf dein Pedalboard.

The Trident A-Range console dominated the UK recording scene in the late ‘60s to early ‘80s, due in part to just how good it made things sound. The heart of the beast consists of a discrete germanium-and-transformer-equipped preamp that can be adjusted to suit all tastes, from the tones of Lou Reed to the fuzzy freakouts of Frank Zappa. And of course, when pushed, console preamps distort, saturate and heave, dripping with harmonics and other desirable tonal artifacts. Our Airstrip distills these legendary tones into a stompbox-sized console preamp with a handful of extras on offer. A discrete op-amp based on a vintage UREI design pushes the front end of the console into blissful gain if you want it. On the back end, a tasteful treble filter sets the luminosity of the pre to suit your rig and a specially-selected transformer adds a touch of iron to the signal. Capable of every gain sound imaginable from warm, “mastered”-style cleans to gnarly collapsing fuzz, the Airstrip puts the mixing desk on your pedalboard in a much more manageable package.

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Airstrip

Der Catalinbread CSIDMAN entstammt dem Gedanken, dass technische Entwicklungen nur selten direkt vom Erkennen eines Problems zu dessen endgültiger Lösung führen. In der Regel passiert das in vielen Zwischenschritten, von denen viele zu ihrer Zeit als Nonplusultra gelten, bis sie der Fortschritt wieder überholt. Die Schallplatte beispielsweise hat trotz ihrer Unzulänglichkeiten der Musik im letzten Jahrhundert zum wirtschaftlichen Erfolg verholfen. Und mit der Erfindung des Magnetbandes war es möglich, sie jederzeit und relativ einfach aufzunehmen – oder zum Beispiel in Echogeräten für den entsprechenden Effekt zu sorgen. Und genau dort setzt Catalinbread an: So wie die Schallplatte für viele immer noch als das natürlichste und authentischste Medium gilt, so schwören auch nicht wenige von uns heute noch bei ihren Aufnahmen auf die alten Bandechos, und das trotz, oder gerade wegen derer Unzulänglichkeiten. Warum also nicht ein Effektgerät kreieren, das unter anderem die Artefakte reproduziert, für die das Nachfolgemedium der Schallplatte, die CD, gefürchtet war?

Yes, it's digital. Did I stutter? What are the artifacts of antiquated technologies that have merit in a musical context? Why can't we create a pedal that intentionally embraces technological limitations that musicians haven't widely utilized?
I see technology as the optimistic push through the limitations of existing paradigms: limitations in materials, processes, functionality, cost, and foresight. With each spearhead of technology, the limitations of incumbents are resolved. All too often, a slew of new issues are introduced that the marketplace is willing to overlook, at least for a short period of time. It isn’t too long before the marketplace demands better, and is willing to abandon the past and pay for the next-generation solution.

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CSIDMAN

The Big Muff is probably one of the most sought after, and heavily replicated pedals on the planet. Even though it is still made by the original manufacturer, it’s long and varied history has made it’s way into many other pedal manufacturer’s fold. When we set out to create the Manx Loaghtan fuzz, our goal wasn’t to brush off an obscure build to recreate. Rather than looking back over that pedals heritage, we wanted to try and push it forward. One of the more common traits among fuzzes of that ilk is the tone control. However, we felt that such a tone stack was rather limiting. Often you would follow the sweep looking for the one spot that sounded right. The one spot where it didn’t sound too boomy or constricted and thin. Where the pedal finally finds its harmony. We wanted it to not be a compromise between too bright and too bassy, but also be capable of doing either or both with a nice mid range scoop in order to sound HEAVY for chunky chords. So rather than using the traditional tone control we incorporated the Baxandall.

Review by Talk Bass.com

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Manx Loaghtan

There’s nothing like kicking on “ol’ reliable” and watching the faces in the crowd light up as you nail your finest riff. The Sidearm is that device. Featuring a fresh take on the classic ‘79 “green overdrive,” the Sidearm lets you tailor your drive sound to accompany the rest of your rig, rather than the other way around. The typical “green” overdrive features a combination of filters at different stages to give its characteristic sound. These have all been carefully adjusted to get a little more out of the circuit, accentuating the new Mids control and the overhauled Tone knob. The Sidearm’s “hump frequency” sits at 1KHz, but the mids control sits at the typical “green” frequency of 720Hz, letting you boost or cut this band at will for a more customizable tone. The Tone control boosts lows and cuts highs when turned down, and has the opposite effect when cranked. This control sits centered at 1KHz, the same as the hump, letting you fine-tune the entire frequency response and giving you back some lost treble, or thickening up the tone if you’re plugged into your amp’s bright channel.

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