MOAI MAEA is KMA Machines’ homage to the powerful analog octaver tones of yesteryear. The pedal generates one higher octave and up to two sub-octaves, helping you create massive walls of synthy sound from a single note.

The MOAI MAEA’s upper octave section has an edgy and fuzzy character which is reminiscent of the iconic late ‘60s early ‘70s octave-up tones, as used by legends like Hendrix or The Stooges.
The sub-octave section turns your guitar into a filthy sub bass with ground shaking lows. Choose between either the first (-I), the second (-II) or both sub-octaves together (-I/-II), for an absolutely bone-breakingly heavy subsonic attack.

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Moai Maea

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Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it’s absolutely on the money. From its beyond brutal and grinding distortion tones, bands like Dismember and Entombed birthed Swedish chainsaw metal. While WURM 2 absolutely nails that death-metal sound, its thick walls of gain and sustain is not all about that genre – the pedal is also adept for so many other styles, from Shoegaze to Prog Rock. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and more have all made their mark with this style of distortion.

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Wurm 2

The Horizont’s mission is to push way beyond the classic phasing sounds of yesteryear, and take you to uncharted phaser worlds the second you plug in. By combining lush analog JFET phasing with digitally controlled dynamics, Horizont creates a vivid and expressive modulation experience, all while providing experimental and creative features that’ll kick phasing well into the 21st century.

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Horizont

KMA Machines bring you Tyler – The Frequency Splitter. The ultimate tool for developing new sounds and pushing your creativity to new unprecedented heights.

Tyler is an active and variable two channel crossover/signal splitter, which divides your signal with HIGH PASS and LOW PASS paths. Both filters have a 12db/Oct. roll-off with a variable cut-off frequency from 20Hz to 3kHz. Each channel has its own foot-switchable buffered FX-Loop to process your lows (WOOD) or your highs (STEEL) with independent effects loops in parallel.

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