Just imagine if T-Rex took all the gorgeous vintage tone and uncluttered functionality of the Tremster tremolo pedal… and then added the Tap Tempo function that has made the T-Rex Replica delay a certified platinum classic? It would give you all the swampy pulsation you love about the tremolo, plus let you change the tempo of your tremolo pulse dynamically, as you play.

Well, you don’t have to imagine it, because it’s here – in the new Tapster tremolo from T-Rex. Like a great organist adjusts the rotation speed of his Leslie speaker, you can now shift from a dizzying tremolo shimmer to a funky slow sweep – all while keeping in sync with the beat. Just tap your foot along.
Tapster is a masterpiece of simplicity. Its only controls – apart from Tap Tempo – are Depth, Rate, Volume and Subdivision. The Subdivision switch lets you choose how your tremolo pulsates to the beat – in quarter notes, eight notes, or eight-note triplets. Like all T-Rex pedals, Tapster boasts an elegant, rugged design that’s built for a life on the road. It comes in cherry red.

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Review by Trevor Curwen, musicradar.com

Tapster Tremolo

Mit dem T-Rex Alberta II Dual Overdrive Pedal hat man zwei Zerrer in einem Kasten. Die Regelmöglichkeiten sind absolut identisch, allerdings unterscheiden sich die Grundsounds der beiden Einheiten leicht. Das macht auf jeden Fall Sinn, denn der erste Kanal bringt einen etwas stärker komprimierten Ton mit einer Ecke mehr Gain, während Channel 2 den offenen Overdrive mit viel dynamischen Reserven zelebriert. 

Alberta II’s channels are highly complementary, for a start. Set one up as your lead and the other up as your rhythm, and you can happily toggle between the two all night. Second, the pedal’s drives are eminently usable even when they’re dimmed; it’s impossible to overdo it. In a world where mega-distortion is the norm, that’s a huge boon.

Review by Delicious-Audio 

Review by Bonedo 

Manual

Alberta II

This is the T-Rex Classic FuelTank that has 3 different output sections: 9 volt DC, 12 volt DC and 12 volt AC. Each section is isolated.

No more batteries to change. No more tangled cables to trip over. FuelTank is the perfect power supply unit for guitarists who want to focus on their performance, not their gear.

Delivering 1.500 mA through ten DC plugs, FuelTank powers all your pedals – keeping you running on full power night after night.

With a compact design, FuelTank fits conveniently every pedal board including the T-Rex ToneTrunk effect board. And it comes with all the cables you need to get you up and running.
FuelTank delivers 1.500 mA of reliable power. Two of the ten outputs provide 12-volt power with isolated ground – one DC and the other AC, for AC pedals.

Fuel Tank Classic

The T-Rex Vulture started its life, when Michael plugged in one of the very first pedals we made. That pedal had a certain sound to it that we really liked, but it was a bit grungy in the low-end. We wanted to make a pedal with that sound, but with a tighter, less fuzzy low end and with more gain.
We opened up the pedal and painstakingly measured everything in it, to find out why it sounded so good, and found a couple of resistors that would be better with other values.
Was it modified earlier in life or was this just a very good sounding mistake from when it was made in Lars´ basement way back in the 90´s?
All we know is that the basic sound was cool and we left it at that, and went on to focus on getting the low-end tight - but BIG!
The fruit of our labor is a pedal that has a great, throaty distortion with a nice bite to it but the low end and low midrange can be shaped in many ways, thanks to the low- and fat-boost knobs. This allows the player to dial in almost stupid amounts of lows, but the distortion stays tight, not muddy.

Vulture distortion

Having some cool effects at your disposal when playing your acoustic instrument can highlight your performance and playing, but the effects should not cover up the instrument´s acoustic properties/sound and should act as “enhancers” of what´s already there. With a good pickup system, what most players look for is subtle changes, because essentially, they want to hear the instrument, only louder.
More importantly, we need to be able to use the instrument in various environments that are quite hostile for an instrument that is designed to be played acoustically. If signal phase, impedance and feedback mean anything to you, you already know that amplifying acoustic instruments often involves patching in various electronic gadgets that you´d never use in your electric setup,

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