Saulo Silveira

Rocker

dewey hwang

Introduced in 1967, the Universal Audio 1176 remains the king of audio limiting, heard on more classic records than any other compressor. Built on the powerful UAFX engine, the 1176 Studio Compressor delivers the same punchy, expressive tones of the world-renowned hardware, now in a compact stompbox.

Universal Audio

Product Page

Demo by EytschPi42

Official Product Video

1176 Studio Compressor Pedal

Tester

Whirly Verb’s MODULATION function lets you take that perfect reverb and thicken, twist and turn it to sound like something strange is going on... Combined with the REVERB and DECAY controls, MODULATION offers you a world of strange reverb sounds that will inspire your creativity and fascinate your audiences.

T-Rex

Demo by Pedal des Tages

Review by Mike B, pedal-of-the-day.com

Review by Jordan Wagner, premierguitar.com

Manual

Demo by Pedal of the Day

Whirly Verb

GREGORY GUENEAU

DAS ABELHA BIETET DREI VERSCHIEDENE FUZZ-ARTEN ÜBER EINEN KIPPSCHALTER IN DER MITTE DES PEDALS. „POLEN“ LIEFERT EINEN SCHLAGIGEN UND SPITZIGEN TON, DER AN EINE LEERE BATTERIE IM GERMANIUM-FUZZ-STIL ERINNERT. „NECTAR“ BIETET EINE RUNDE UND RIESIG KLINGENDE FUZZY-OPTION, WÄHREND „HONEY“ EINE ETWAS GEDÄMPFTERE VERSTÄRKUNG MIT BEEINDRUCKENDER VIELSEITIGKEIT BIETET. DIE „BUZZ“- UND „LOUD“-REGLER PASSEN FUZZ UND LAUTSTÄRKE AN, WÄHREND DIE „HI“- UND „LO“-REGLER EINE VIELSEITIGE REICHWEITE BIETEN, UM IHREN EQ PERFEKT ZU GESTALTEN.

TAUCHEN SIE MIT DEM „TROPICAL MODE“ IN PSYCHEDELISCHE Sphären ein, EINEM HOCHPASSFILTER, DER SIE DIREKT IN DIE TROPEN ENTFÜHRT. AKTIVIEREN SIE IHN DURCH DOPPELTIPPEN AUF DEN FUSSSCHALTER ODER HALTEN SIE IHN FÜR EINE KURZE KLANGERFAHRUNG HALT. DREI FUSSSCHALTERPROFILOPTIONEN ERMÖGLICHEN IHNEN, DIE TEMPOÄNDERUNGEN FÜR DIE KURZE FUNKTION NACH IHREN WÜNSCHEN ANZUPASSEN.

THE ABELHA OFFERS THREE DISTINCT FLAVORS OF FUZZ VIA A TOGGLE SWITCH AT THE PEDAL'S CENTER. "POLEN" DELIVERS A SAGGED AND SPITTY TONE REMINISCENT OF A DYING BATTERY ON A GERMANIUM FUZZ STYLE. "NECTAR" PROVIDES A ROUND AND HUGE-SOUNDING FUZZY OPTION, WHILE "HONEY" OFFERS SLIGHTLY MORE CONTAINED GAIN WITH IMPRESSIVE VERSATILITY. THE "BUZZ" AND "LOUD" CONTROLS ADJUST THE FUZZ AND VOLUME, WHILE THE "HI" AND "LO" CONTROLS PROVIDE A VERSATILE RANGE TO SHAPE YOUR EQ TO PERFECTION.

DIVE INTO PSYCHEDELIC REALMS WITH THE "TROPICAL MODE", A HIGH-PASS FILTER THAT TRANSPORTS YOU STRAIGHT TO THE TROPICS. ACTIVATE IT WITH A DOUBLE TAP ON THE FOOTSWITCH OR HOLD IT FOR MOMENTARY SONIC EXPLORATION. THREE FOOTSWITCH PROFILE OPTIONS ENABLE YOU TO ADJUST THE TEMPO CHANGES FOR THE MOMENTARY FUNCTION TO YOUR LIKING.

Beetronics

Review by bonedo

Review by Guitar World

Demo by TheGuitarGeek

Abelha Tropical Fuzz

The beauty of the RAT2 lies in its versatility.  Used as a primary distortion, it excels at arena rock rhythm tones and soaring leads.  Do you have a powerful amp with too much headroom for the gig?  Let the RAT2 be your dirty channel.  Maybe you already love your amp’s distortion.  Use the RAT2 as a boost for solos and get the extra kick you need.
The RAT2 features the legendary RAT filter control.  Turn it to the right to roll off brittle high-end frequencies.  Having trouble cutting through the mix?  Turn it to the left and allow the natural brightness of your instrument to shine through.

ProCo

Review by the JHS Show

Review by delamar

Review by Guitar Chalk

Demo by intheblues

Demo by PMTVUK

Rat 2

Seung Ra

Das A.C.P Ham Multidimensional Reverb ist ein digitales Reverb-Pedal, das in Zusammenarbeit mit dem renommierten Gitarristen Andrew Cashen (A.C.P) entwickelt wurde. Die Schaltung basiert auf einem DSP-Algorithmus, der dichte, atmosphärische Texturen erzeugt, die über den Standard-Hall hinausgehen. Es bietet vier Hauptregler für Mix, Decay, Tone und einen speziellen "Dimension"-Regler zur Modulation der Reflexionsdichte. Das Design wurde darauf ausgelegt, sowohl subtile Räume als auch endlose, oszillierende Klanglandschaften ohne digitalen Schärfegrad zu ermöglichen. Gefertigt in kleinen Serien, zeichnet es sich durch ein hochwertiges, pulverbeschichtetes Gehäuse und ein True-Bypass-Schaltsystem aus. Das Pedal ist besonders für Ambient-Musiker und Sound-Designer konzipiert, die eine charakterstarke Alternative zu Mainstream-Reverbs suchen.

The A.C.P Ham Multidimensional Reverb is a digital reverb pedal developed in collaboration with acclaimed guitarist Andrew Cashen (A.C.P). The circuit is based on a DSP algorithm designed to create dense, atmospheric textures that push beyond standard reverberation. It features four primary controls for Mix, Decay, Tone, and a unique "Dimension" knob to modulate reflection density. The design was engineered to provide everything from subtle rooms to infinite, oscillating soundscapes without digital harshness. Built in small batches, it features a high-quality powder-coated enclosure and a true-bypass switching system. The pedal is specifically tailored for ambient musicians and sound designers seeking a characterful alternative to mainstream reverb units.

A.C.P

Ham Multidimensional Reverb

Provides natural wave and thick vivration, while taking over the REAL of PB-1. Switchable three mode allow you to choose from two different phase effects and high quality vivrato. Useful low-noise vivration for many different scenes.

Sobbat

Demo by Iga Massardi

PB-2

ch ray

Entwickelt aus unserer Flaggschiff-Starlight Echo Station, bringt das Orion Tape Echo die magischen, sanften Delay-Effekte der klassischen 70er-Jahre Maestro Echoplex EP-III Tape-Delays in einem eleganten, kompakten Format.

Emerging from our flagship Starlight Echo Station, Orion Tape Echo gives you the magical hazy delay effects of vintage ’70s Maestro Echoplex EP-III tape delays, in a classy, compact package.

Review by Gearnews

Manual Page

Orion Tape Echo

The Type One is a stereo analogue chorus ensemble effect.  It is loosely modelled around the DNA of the true sultan of chorus, the Boss CE-1 from the mid-1970s.  Both use a very unique LFO waveform unlike any other chorus or vibrato pedal.  Like the CE-1, the sound quality is ethereal and encompassing, especially when listened to in stereo.  It also does that John Frusciante thing.

The Type One has been finely tuned to give maximum clean headroom, so even a strummed bass, a synth, or a humbuckered guitar won't hit the stops.  Likewise, if you are a low frequency warrior, the Type One won’t rob you of Lo Hz.  The Type One features a very low quiescent noise floor, so it is as equally at home in a studio as in front of a cranked amp on a festival stage. 

Horrothia Effects

Demo by Ambient Endeavors

Demo by  Anne Sulikowski

Review by reddit /guitarpedals

Review by Pedal of the Day

Review by Gigs and Guitars

Review by The Gear Page

Type One

Der Milkman ist eine Kollaboration zwischen Josh Scott von JHS und Tim Marcus of Milkman Sound. Das Konzept ist einfach: ein einzelnes Pedal, dass dir ein Echo/Slap Delay und Boost bietet, dass du als Immer-an Klangverbesserer oder Overdrive für niederwattige Amps nutzen kannst. Zur Rechten hast du hier einen diskreten Verstärker-basierten Boost Schaltkreis mit Tonnen an Power und Charakter. Zur Linken liegt dir hier ein Echo/Slap Delay zu Füßen, designt um wie ein Hybrid aus Tape Echo und Eimerketten Delay zu klingen.

The Milkman is a collaborative idea between Josh Scott of JHS Pedals and Tim Marcus of Milkman Sound. The concept is simple; a single pedal that offers up an echo/slap delay and a boost that can be used as an always-on enhancer or as an overdrive for small wattage amplifiers. The right side of the pedal is the boost side - a discreet amplifier based circuit with tons of power and character. The left side of the pedal is the echo/slap delay circuit. This circuit is designed to be a hybrid of tape echo and analog BBD delay.

Official Product Page

JHS The Milkman Slapback Echo and Boost Demo by Pro Guitar Shop

JHS The Milkman - Livingroom Gear Demo

JHS The Milkman - Video Demo by Pedal of the Day

JHS Pedal The Milkman Test by Bonedo - DE

JHS Pedals, VCR (Featuring the Pulp'N'Peel, Milkman, Colour Box 500)- Official Bass Demo

Milkman

Das Electro Harmonix Oceans 12 ist ein Stereo-Reverb-Pedal, das, wie der Name schon erahnen lässt, mit gleich 12 verschiedenen Reverb-Modi den Spieler beglücken möchte. Damit hat das Oceans 12 im Gegensatz zum seinem ebenfalls von uns getesteten Vorgänger, dem Oceans 11, noch einen Algorithmus mehr an Bord. Viel entscheidender ist aber die Möglichkeit, gleich zwei Reverbs parallel oder in Serie zu schalten, und das in Stereo.

The EHX Oceans 12 is the Oceans 11’s big brother with even more reverbs and functionality. It features two simultaneous, independent, stereo reverb engines, series and parallel control for the dual reverbs, 24 presets and advanced I/O allowing for stereo in/out or mono send/return with pre and post reverb options. The pedal also includes a new Tide Control for stereo image alteration, a Lo-fi Control, an infinite attenuation control and an input jack for external expression and 3-button footswitch control.

A Tails switch provides a choice of whether the reverb effect fades out naturally or stops immediately when the pedal is switched to bypass. In most settings the pedal is also capable of producing infinite reverb which can be played over with a different reverb effect.

The Oceans 12’s reverbs are:
• ROOM – two modes: reverb algorithms modeled after a lively room and a spacious performance hall
• SPRING – two modes: vintage 1962 Fender® 6G15 tube reverb emulation and the spring algorithm from the EHX Holy Grail
• PLATE – two modes: two emulations of the smooth, metal plate reverb often used in high-end recording studios during the 1960s and ‘70s
• REVERSE – two modes: a reverse reverb effect as well as true reversed echoes
• ECHO – three modes: a digital delay with various echo rhythms feeding into a plate reverb
• TREM – three modes: a classic, periodic volume envelope with various shapes applied to both the wet and dry mix of a hall reverb
• MOD – three modes: combinations of chorus and flange reverbs that create rich reverb tails
• DYNA – three dynamic, experimental reverb algorithms: swell, gate and duck
• AUTO-INF – three modes: auto-infinite reverb (w/optional chorus or flange) that “listens” to your playing and crossfades to a new reverb wash upon detection of newly struck notes.
• SHIMMER – two modes: two configurations of a rich octave-shifted reverb wash
• POLYPHONIC – two modes: two configurable bi-directional pitch shifts that add dimensionality to the reverb tail
• RESONANT – two modes: reverb excited by tunable resonators and configurable self-oscillating filters on the reverb tail

2 simultaneous, independent, stereo reverb engines
Series and parallel control for the dual reverbs
24 presets
Stereo in/out or mono send/return with pre and post reverb options
Tide Control for stereo image alteration
Lo-fi Control
Infinite attenuation control
Tap tempo to set your pre-delay time, echo time and more
Input jack for external expression and 3-button footswitch control
Power supply included

Electro-Harmonix

Product Page 

Review by PREMIER Guitar 

Review by AMAZONA 

Review by bonedo  

User Manual

Demo by Premier Guitar 

Oceans 12 Dual Stereo Reverb

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

Ronald Westland

Das UAFX Lion '68 Super Lead Amp Pedal liefert die klassischen britischen Verstärker-Sounds, die von legendären Künstlern wie Jimi Hendrix, Van Halen, Led Zeppelin, AC/DC und vielen anderen berühmt gemacht wurden.

Lion '68 ist das einzige Pedal, das die originalgetreuen Sounds von drei verschiedenen 100-Watt-Plexi-Verstärkern liefert. Dank der leistungsstarken Dual-Engine-Verarbeitung und der erstklassigen UAD-Modellierung erhältst du die großartigen Cleans, den aggressiven Breakup und das heiße Röhren der Originale.

The UAFX Lion '68 Super Lead Amp pedal gives you the classic British amp sounds made famous by decades of legendary artists including Jimi Hendrix, Van Halen, Led Zeppelin, AC/DC, and more.

Lion '68 is the only pedal that delivers the dead-on tones of three distinct 100-watt plexi amplifiers. Built on powerful dual-engine processing and world-class UAD modeling, you get all the gorgeous cleans, aggressive breakup, and hot-rodded roar of the originals.

Demo by Guitar Bonedo

Review by That Guitar Lover

Lion 68 Super Lead Amp

Für 9-14 FX-Pedale, 2 MOD-Slots - **722 x 236 mm / 28.43" x 9.29"** - erhältlich mit Gig Bag oder Flight Case

For 9 - 14 FX pedals, 2 MOD slots - **722 x 236 mm / 28.43" x 9.29"** - available with Gig Bag or Flight Case

Das Lutz ist eine äußerst vielseitige, moderne Interpretation einer klassischen Zwei-Transistor-Silizium-Fuzz-Schaltung, die für extremes Tone-Shaping und klangliche Experimente entwickelt wurde. Es verfügt über eine einzigartige 144-Wege-Filtermatrix, bestehend aus zwei 12-stufigen Hochpassfilter-Schaltern (Pre-Fuzz und Post-Fuzz), um den Frequenzgang präzise zu formen. Das Pedal enthält zwei "Curly Cable Simulatoren", um den Höhenabfall verschiedener Kabellängen zu replizieren, sowie einen Voltage-Sag-Regler für Texturen einer "sterbenden Batterie". Drei fußgesteuerte Funktionen umfassen einen Haupt-Relais-Bypass, einen Transistor-basierten Eingangs-Boost/Buffer für zusätzliche Verstärkung und einen "Cap Defeat"-Schalter, der Eigenoszillation und Oktav-Obertöne induziert. Ein spezieller Bias-Regler ermöglicht den Übergang zwischen glattem, anhaltendem Fuzz und gegateten, klettverschlussartigen Klängen. In Großbritannien handgefertigt, ist das Gerät in einem kompakten Gehäuse mit oben montierten Buchsen und einem militärtauglichen Fußschalter im Arcade-Stil untergebracht.

The Lutz is a highly versatile, modern take on a classic two-transistor silicon fuzz circuit, designed for extreme tone-shaping and sonic experimentation. It features a unique 144-way filter matrix composed of two 12-position high-pass filter switches located pre-fuzz and post-fuzz to precisely sculpt frequency response. The pedal includes dual "curly cable simulators" to replicate the high-frequency roll-off of different cable lengths, alongside a voltage sag control for "dying battery" textures. Three foot-controlled functions include a main relay bypass, a transistor-based input boost/buffer for added gain, and a "Cap Defeat" switch that induces self-oscillation and octave overtones. A dedicated Bias control allows users to transition between smooth, sustained fuzz and gated, Velcro-like breakups. Handmade in the UK, the unit is housed in a compact enclosure with top-mounted jacks and a military-grade arcade-style footswitch.

Demo by Pedal Experiments

Review by Guitar Pedal X

Lutz

Born of the same DNA as the Teeth, the Triage has your boost, grit and level covered.  Elements of the circuits are similar, but the Triage dwells on the wet side of the Teeth’s design.

Triage is an all-transistor, ground-up Horrothia design.  A JFET preamp (followed by an internal clean-level trimmer) feeds an overdrive stage made using a transistor based discrete opamp - no chip ICs here.  The overdrive stage has a voicing MID PEAK switch.  Off, the Triage is a full range boost.  On, there is a distinct, carefully chosen mid-bump. The HF balance control is a high frequency cut or boost – dialled to full acting like a hot knife through a band mix. 

Front end preamp or overdrive?  It’s both.  Bass and acoustic as well as electric?  Sure thing.  Dial it right down to use as a front end to brighten up vintage pickups?  Uh huh.  Wind it right up for compressed crunchy overdrive?  In spades.

Review by Stompbox Steals

Review by delicious audio

Review by guitar pedal X

Review by little box

Triage

Das Herzstück des Triage Deluxe ist ein FET-Vorverstärker, gefolgt von einer Overdrive-Stufe aus handverlesenen Transistoren, die einen diskreten Operationsverstärker bilden. Es handelt sich um ein von Grund auf neu entwickeltes Design von Horrothia, das auf den Erfahrungen aus der Entwicklung des Teeth, Teeth Mk2, Lutz Fuzz und des ursprünglichen Triage basiert. Hinzu kommt eine langjährige Erfahrung mit Drive-Pedalen, und schon hat man einen Klassiker. 

Der FET-Vorverstärker bietet ein robustes Frontend mit hoher Impedanz, das die Signalintegrität und den Hochfrequenzanteil bewahrt. Darauf folgt ein variabler Hochpassfilter (Input HPF), der dem Spieler ein unschätzbares Klangwerkzeug zur Gestaltung des Charakters der folgenden Stufen an die Hand gibt.

Als Nächstes folgt das Herzstück des Triage Deluxe. Die Overdrive-Stufe besteht aus einzelnen Transistoren statt aus IC-Operationsverstärkern. Diskrete Operationsverstärker sind viel langsamer als IC-Operationsverstärker und brechen auf viel elegantere, musikalischere Weise zusammen.

Headroom regelt den Spannungs-Headroom des Pedals – bei hoher Einstellung fungiert das Pedal als großartiger Clean-Boost, bei niedriger Einstellung erhält man die körnigen Eigenschaften eines kleinen Röhrenverstärkers.

Stellen Sie den Clipping-Schalter auf „Off“, um einen Clean-Boost zu erhalten. Schalten Sie ihn jedoch ein, ändert das Triage seinen Charakter und wird plötzlich zu einem Low-Gain-Overdrive. Der HPF, die Gain- und Gitarrenlautstärke sowie der Ton beeinflussen diesen Charakter, und es wird ausdrücklich zum Experimentieren empfohlen.

Der Breath-Regler ist ein Hochfrequenzregler. Dieser wurde seit dem ursprünglichen Triage überarbeitet und deckt nun ein klareres Spektrum ab, das seinen Charakter beibehält, ohne verschwommen oder dröhnend zu klingen.

Wie alle Horrothia-Effektpedale wird auch das Triage Deluxe einzeln von Hand in der malerischen Küstenstadt Falmouth im Vereinigten Königreich hergestellt.

The heart of the Triage Deluxe is a FET preamp followed by an overdrive stage made from hand picked transistors which form a discrete opamp. It is a ground-up, blank-sheet design from Horrothia fed from the experience of developing the Teeth, Teeth Mk2, Lutz fuzz and the original Triage. Add to this a long experience with drive pedals, and you have a classic. 

The FET preamp provides a robust front end offering a high impedance, retaining signal integrity and high frequency content. Following this is a variable high pass filter (input HPF) giving the player an invaluable sonic tool for sculpting the character of the following stages.

Next follows the heart of the Triage Deluxe. The overdrive stage is built from individual transistors rather than IC opamps. Discrete opamps are much slower than IC opamps, and collapse and breakup in a much more graceful, musical way.

Headroom controls the voltage headroom of the pedal - set high it sets up the pedal as a great clean boost but lower it and you start to get the gritty characteristics of a small tube amp.

Set the clipping switch to off for a clean boost. Switch it on however, and the Triage changes it's character and it's suddenly a low gain overdrive. The HPF, gain and guitar volume and tone all inform this character and experimentation is much encouraged.

The Breath control is a high frequency control. This has been reworked since the original Triage, and covers a more defined spectrum which throughout retains it's character without becoming woolly or boomy.

Like all Horrothia effects pedals, the Triage Deluxe is hand built, one by one in the quaint seaside enclave of Falmouth, United Kingdom.

Triage Deluxe

The Berkeley signal path is almost exactly identical to the original late 60’s vibe.  Carbon film resistors, Mylar caps, transistors chosen for very very similar or identical characteristics to the originals.  Some small key changes have been made in line with mods that were done in the late 60’s to open up the low-end and add more liquid movement.
There are 4 photocells, but no bulb.  Hand chosen Vactrols are matched one by one in a custom test fixture to make sure that every component works within a well defined ‘sweet spot’ range.  No guessing here. 