Ursprünglich wollten wir eine verbesserte Version unseres eingestellten Odessa Dual Overdrive entwickeln. Als wir jedoch die Drive-Schaltungen optimierten, wurde uns klar, wie genial es wäre, eine Serien/Parallel-Reihenfolge-Schaltung hinzuzufügen. Das führte uns auf einen Pfad des Feintunings, um dem Nutzer vollständige klangliche Kontrolle zu geben. Die linken und rechten Schaltungen ergänzen sich auf vielfältige Weise, und das Ändern der Reihenfolge eröffnet endlose Optionen. Du kannst so lange justieren, bis du deinen einzigartigen Sound findest – oder einfach alle Regler auf 12 Uhr stellen und losrocken!

Rechte Schaltung: Dies ist die dynamischere Overdrive-Schaltung. Sie kann sauber bleiben, liefert aber auch satten Overdrive bei voller Dynamik und ist extrem ansprechbar auf Anschlagsintensität. Ein leichter Anschlag hält den Drive zurück, je stärker du spielst, desto mehr Drive spürst du! Diese Schaltung funktioniert gut als Boost oder Overdrive vor, nach oder parallel zur linken Schaltung. Die „Push“-Regelung ermöglicht dir, den Gesamtklang mit mehr Clean-Mix nach links zu formen oder mit nach rechts gedrehter Regelung mehr Gain und Bass-Punch zu erzeugen. Ein Drei-Clipping-Optionsschalter rundet die Kontrolle ab.

Linke Schaltung: Ein mittenbetonter, druckvoller Drive, der sich perfekt im Mix einfügt. Diese Seite trifft klassische, übersteuerte Amp-Töne und wird in Kombination mit der rechten Seite noch dynamischer. Sie entfaltet sich am besten als zweite in Serie, komplett offen in Parallelbetrieb oder indem sie die sauberere rechte Seite in Sättigung treibt. Außerdem bietet sie dank eines Baxandall-Tonestacks und drei Clipping-Optionen zusätzliche Flexibilität. Obwohl dieser Overdrive auch allein steht, ergänzt ihn die klassische rechte Schaltung perfekt.

Rock City: Detroit’s Rock ’n’ Roll Legacy
Originally, we set out to create an improved version of our discontinued Odessa dual overdrive. As we started tweaking the drive circuits, we realized how cool it would be to add series/parallel order switching. This lead us down a rabbit hole of fine tuning to make sure that the user had complete tonal control. The left and right circuits compliment each other in various ways, and changing the order unlocks endless options. You can tweak until you discover your unique sound, or you can just turn all the knobs to noon and let it rip!

Right Circuit: This is the more dynamic overdrive circuit. It can stay clean but it is capable of rich overdrive while retaining dynamics and remaining incredibly sensitive to pick attack. Playing with lighter attack will keep the drive tame. The harder you play, the more drive you will feel! This circuit works well as a boost or overdrive before, after, or in parallel with the left circuit. The added Push control allows you to tailor the overall tone with more clean mix turned to the left, while offering more gain and low end punch turning to the right. A 3-clipping option switch completes the control mix.

Left Circuit: A mid-focused punchy drive that sits in the mix beautifully. This side nails classic rock driven amp tones and becomes even more dynamic when combined with the right circuit. It thrives being 2nd in series, wide open in parallel, or pushing the cleaner right side into saturation. It also features added flexibility through the use of a Baxandall tone stack and 3-clipping options. Though this overdrive can easily stand on its own, the classic right circuit complements it perfectly.

Mojo Hand Fx

Demo by Shawn Tubbs

Demo by Mike Hermans

Product Page

Review by Stomp Box Steals

Rock City

Say "hello" to the 1979! An evolution of the now discontinued Mojo Hand FX 1978, the 1979 is based on the notoriously high gain Big Muffs that were manufactured during the late 70s. Favored by many players for it’s outrageous grungy distortion (most notably Billy Corgan), it features op-amps instead of the traditional transistors found in every other Big Muff variant.

The 1979 features a footswitch to bypass the tone knob, so you get ALL the bass, ALL the treble, and a HUGE helping of extra mids and volume. Perfect for slamming your amp into a ripping solo, or doom/stoner mode. But most importantly, the tone bypass has it’s own volume knob so you can set it to unity or boost! We also adjusted the taper of the original gain pot to have a more usable sweep.

This peculiar Muff uses an IC, instead of the traditional transistor set, resulting in something that’s both familiar and different at the same time. The sound is more raw and aggressive than a typical BMP. Please do not expect subtlety. This pedal does not “clean up well” with your volume knob. It doesn’t sound pretty. It’s probably not appropriate for waltzes or jazz standards. It’s not supposed to be. It smashes you in the face.

Demo by 60 Cycle Hum

Demo by Reverb

Review by reddit /guitarpedals

Review by Premier Guitar

Review by The Gear Page

1979

Designed to faithfully reproduce the classic amp-style tremolo of days past, the Bayou tremolo focuses on vintage analog sweetness while adding modern upgrades and features such as true bypass switching, pulsing LED, and top-notch build quality. 3 external controls provide you with ample command of the Bayou’s tonal performance. The DEPTH knob offers everything from a light and buttery shimmer, to a deep pulsing throb, while the RATE control ranges from slow warble, to full-tilt flutter. Lastly, the LEVEL knob makes it extremely simple to find unity volume, and if desired, can give a significant boost.

In fact, with the DEPTH control at 0 and the LEVEL set to a fair amount of boost, the Bayou gives a wonderfully unique kick to the tubes without overly coloring your signal, and with a twist of the RATE knob, you can give your leads a subtle stutter effect that stays low in the mix, or keep the RATE low for a barely audible, almost vibe-like quality. Good times.

Demo by Curtis Kent

Demo by Prymaxe

Review by The Tremolo Project

Bayou

Sweet Texas Heat… The Bluebonnet is a streamlined, straight to the point tribute to Lone Star Tone. Designed to be the ultimate grab-n-go dirt pedal, its simplistic dual control layout (Volume and Gain) makes it a natural extension of your amp. Crank the Volume knob to give your rig a boot to the tubes, or dime the Gain and watch your licks scorch like the sun on a summer day in Dallas. With no Tone or EQ controls, we’ve voiced the Bluebonnet relatively flat: not too bright, not too dark, no ‘honky’ mids…just nice, smooth and neutral.

While the Bluebonnet’s design favors simplicity over versatility, thats not to say its a mere one trick pony. Whether its used to add some grit to a clean amp, kick an already overdriven amp to the next level, or used as a base tone to stack other pedals…the Bluebonnet delivers classic shades of drive smothered in Tejas Mojo.^

Review by TDPRI

Demo by Visual Guy

Demo by Lance Seymour

Official Website

Bluebonnet

David Gilmour’s lead guitar tone throughout the years has consistently been as varied as it is sought after. Numerous different fuzzes, overdrives, and boosters coupled with various amps and guitars have created some of the most gloriously rich and vibrant tones in the history of rock. It’s clear that no sole effect can duplicate the “Gilmour sound," but when it comes to fuzz his go to unit for the majority of his career has been the legendary Big Muff. However, with so many different incarnations and variants being employed at different time periods, his tone has remained extremely difficult and elusive to pin down.

The Iron Bell isn’t based on any particular Muff circuit. Instead, we’ve tweaked it to be a platform that is wide, yet focused. Unlike the Colossus Fuzz which is based on the Sovtek/Civil War era Muff, the Iron Bell is voiced to be very open and rich, with an almost 3D-like harmonic quality. Alongside the standard Gain and Volume controls, the Tone and Colour knobs allow you to sculpt the overall spectrum of the EQ. That Iron Bell is tweakable enough that combining it with various set ups and effect combinations will allow an ample array of colors and shades.