Ein Regler, viele Möglichkeiten. Das Acapulco Gold ist eine „Ein-Knopf-Power-Amp-Distortion-Box“, welche die Endstufen-Verzerrungen eines Vintage Sunn Model T Verstärkers emuliert. Das Acapulco Gold interagiert perfekt mit Volume- und Tone-Potis der Gitarre und klart beim Zurückdrehen etwas auf. Wer seinen Röhren-Amp zusätzlich zum „Sunn-Model-T-Kick“ auch boosten möchte, liegt beim Acapulco Gold genau richtig. In erster Linie erzeugt das Pedal jedoch heftige Distortions bis hin fast zum Fuzz und kann mächtig viel Pegel erzeugen! Das Pedal reagiert sehr dynamisch auf die Spielweise. Das Acapulco Gold verfügt über True Bypass und wird in Handarbeit in Akron, Ohio un den USA hergestellt.  

Das Acapulco Gold V2 verfügt über einen geräuschlosen, relais-basierten Soft-Touch Fußschalter. Audiosignale haben keinen Durchgang, wenn das Gerät nicht mit Strom versorgt wird.

One knob, many possibilities. The Acapulco Gold is a “one knob power amp distortion box” based on the vibe of a cranked Sunn Model T. The Acapulco Gold interacts perfectly with the Volume and Tone controls of the guitar cleaning as they are rolled down. For those who would like to give their tube amps a “Sunn Model T” kick, the Acapulco Gold is the perfect choice. However, the pedal can produce aggressive distortion sounds in the verge of Fuzz. It responds very dynamically to the playing style. The Acapulco Gold features True Bypass and it’s hand built in Akron, Ohio in the USA. 

The Acapulco Gold V2 uses silent relay-based soft touch switching. Audio will not pass without power.

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EarthQuaker Devices Acapulco Gold V2 - Official Demo

EarthQuaker Devices Acapulco Gold V2 - Review by Amazona [DE], [12-2020]

EarthQuaker Devices Acapulco Gold - Review by Gitarzysta [PL], [01-2020]

Acapulco Gold

The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it’s actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport SR.

Disaster Transport SR

Mit der polyphonen Rainbow Machine stellt EarthQuaker Devices einen eigenwilligen, digitalen „Pitch-Shifting-Synthesizer“ vor, der speziell für experimentell veranlagte Musiker und „Noise-Fans“ entwickelt wurde. Die Rainbow Machine erzeugt mit digitalen Oszillatoren wilde, Intervalle und Pitch-Shiftings, für nie zuvor gehörte Harmonien und Disharmonien. Mit Reglern für Pitch, Primary, Secondary, Tracking, Magic und Tone ist das Pedal üppig ausgestattet. Außerdem verfügt die Rainbow Machine über einen Anschluss für ein Expression-Pedal sowie einen zusätzlichen „Magic“-Fußschalter. Die Rainbow Machine ist polyphon spielbar und eignet sich für Gitarre, Bass, Gesang, Keyboards und weitere Instrumente. Es verfügt über eine verbesserte Schaltung für weniger Nebengeräusche und verbesserte Leistung mit höherem Output und niedrigerem Signal-to-Noise Ratio. Darüber hinaus können nun die Activate und Magic Fußschalter im Latching sowie Momentary Modus genutzt werden, indem sie einfach gedrückt gehalten werden. So kann der gewünschte Effekt genau so lange genutzt werden, wie gewünscht. Die Rainbow Machine verfügt über True Bypass und wird handgefertigt in Ohio, USA.

With the Rainbow Machine EarthQuaker Devices delivers a unique digital pitch shifting synthesizer specially developed for experimenters and noise makers. The Rainbow Machine uses digital oscillators to produce wild intervals and pitch shiftings for never heard before harmonies and dissonances. The pedal is equipped with controls for Pitch, Primary, Secondary, Tracking, Magic and Tone. In addition, the Rainbow Machine features an expression pedal input jack as well as a “Magic” footswitch. The Rainbow Machine is polyphonic and works well with guitars, basses, vocals, keyboards and other instruments. It has an improved circuitry for lower noise and enhanced performance and higher output for improved signal-to-noise ratio. Also the Activate and Magic footswitches can be activated in standard latching operation or in momentary operation, by just holding the footswitch down for as long as you’d use the effect. The Rainbow Machine is true bypass and is hand made in Ohio, USA,

EarthQuaker Devices Rainbow Machine V2 - Official Bass Demo

EarthQuaker Devices Rainbow Machine V2 - Official Guitar Demo

Best Ambient Sound in the EarthQuaker Devices Rainbow Machine - The Pedal Zone

Rainbow Machine

Der Grand Orbiter ist ein vierstufiger, analoger Phaser, der außer klassischen auch ungewöhnliche Sounds und Vibrato-Effekte bietet. Das Effektspektrum reicht von langsam und resonant bis schnell und quirlig. Das Grand Orbiter Phaser-Pedal ist umschaltbar von Phaser- auf Vibrato-Effekte und verfügt über einen Dreifach-Modulationsbereich-Schalter sowie einen LFO-Kill-Switch, um den Effekt alternativ auch manuell, als feststehendes Resonanzfilter "durchstimmen" zu können. Der Dreifach-Modulationsbereich-Schalter bietet die Modi Slow Sweep, Fixed Resonance und Fast Sweep. Mit dem Master-Rate-Regler lässt sich die Geschwindigkeit in den verschiedenen Modi feinabstimmen. Zudem funktioniert der Fußschalter als Standard Latching Schalter als auch als Momentary Switch, sodass du den Effekt immer nur genau so lange nutzen kannst wie du ihn brauchst. .Der Grand Orbiter verfügt über einen True Bypass und wird in Handarbeit in Ohio/USA hergestellt. Der Grand Orbiter V3 verfügt über einen geräuschlosen, relais-basierten Soft-Touch Fußschalter. Audiosignale haben keinen Durchgang, wenn das Gerät nicht mit Strom versorgt wird.

The Grand Orbiter is a four stage analog phaser that offers classic and unconventional phaser and vibrato sounds, it can go from stationary and resonant to fast and swirly. The Grand Orbiter can be turned from phaser to vibrato via a dedicated switch and features a three way toggle switch to select between the ranges of modulation. One of these ranges, kills the LFO and allows the Grand Orbiter to work as a fixed resonant filter. The three ranges offer the following modes: Slow Sweep, Fixed Resonance and Fast Sweep. The Rate control allows to fine tune the speed of the LFO in each one of the modes. It can be activated in standard latching operation or in momentary operation, by just holding the footswitch down for as long as you'd use the effect. The Grand Orbiter is a True Bypass pedal and is hand made in Ohio, USA. The Grand Orbiter V3 uses silent relay-based soft touch switching. Audio will not pass without power.

Grand Orbiter

Congratulations on your new Terminal! Are you ready to take the stairs to the top of the tallest tower of fuzz? You are now.

The Terminal is our take on the elusive vintage JAX fuzz. These units are increasingly hard to come by, and are better known by most of us as the Shin-Ei Companion Fuzz. We love the Companion Fuzz’s unique buzzy sound, but the lack of output volume and EQ controls really got us down. So, we’ve taken the Companion Fuzz design three steps further, adding “Voice” and “Treble” controls, along with twenty stories’ worth of output volume to erect the Terminal.

The “Voice” control adjusts the Terminal’s midrange focus and overall frequency response. Clockwise you’ll hear vertigo-inducing upper mids with an almost nasal, cocked-wah quality. Counter-clockwise you’ll find enough low-mid thickness to make even your wildest Siamese Dreams come true.

The “Treble” knob controls the Terminal’s biting top end. This control is especially interactive with the “Voice” knob, so it’s anything but “set and forget.” At the low end of the dial, you’ll find muted, subdued fuzz tones that sit back in the mix and play nice. Crank it up, and you’ll hear searing blown-out buzzsaw treble sharp enough to cut glass.  

“Fuzz.” That’s why we’re here today, isn’t it? The Terminal’s “Fuzz” control has a wide sweep for causing all sorts of mayhem. Keep the “Fuzz” low and you’ll find “separated, ”spitty garage tones, and plenty of “satisfaction,” as the Terminal just wants to be your dog. Take the “Fuzz” all the way to the top floor, and you’ll hear a thick, searing grind with a unique attack envelope and loads of sustain. Between these three interactive controls, you’ll find a wide range of fuzz tones at your disposal.

The Terminal is true-bypass, uses archaic all-analog circuitry, and is built one-at-a-time by a team of basketball champions in rubbery Akron, Ohio, USA.

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