maxhitman

Jimi Hendrix - all the pedals-effects he used on one pedal board

Fender Stratocaster

Die überarbeiteten RockBoard® MODs V2 sind einfache all-in-one Patchbays für die RockBoard Pedalboard Series mit einem neuen, überarbeiteten Design und einem kompakten Gehäuse. Passend für alle neuen RockBoards® (außer der DUO-Serie) mit einem MOD-Slot, bieten sie als komfortable Patchbay verschiedene Kabelverbindungen, um eine weite Reihe von Bedürfnissen abzudecken. Mit den RockBoard® MODs kannst du deine Pedale dauerhaft unter dem Board verkabeln und alle Verbindungen zu und von deinem Effektsetup in einem praktischen Modul organisieren. Die RockBoard® MODs bieten einen zentralen Zugangspunkt vom Instrument zum Verstärker sowie eine praktische und einfache Stromversorgung des Boards über einen IEC- und einen 2,1 x 5,5 Barrel-Through-Stromanschluss. Das RockBoard® MOD 1 V2 ist eine Pass-Through-Box, die speziell für Gitarristen und Bassisten entwickelt wurde. Du kannst das MOD 1 V2 nutzen um mehrere Pedale deines Setups im Front End und im Effekt-Loop des Verstärkers zu postieren (4-Kabel Methode) oder die vier TRS-Anschlüsse als zentralen Zugang und Ausgang des Boards nutzen. Die XLR-Through-Verbindung kann als Signalausgang vom Pedalboard zum Mischpult oder zur PA verwendet werden.
- All-in-One Patchbay für Pedalboards
- passend für MOD slots in RockBoard Pedalboards
- kompatibel mit einer weiten Reihe and anderen Pedalboards
- fungiert als zentraler Zugangspunkt zu deinem Effekt Setup
- etabliert klare Kabelwege zum und vom Pedalboard
- abnehmbare Frontplatte für Montage auf oder unter Pedalboards
- 5 x 6,3 mm TRS thru
- 1 x XLR thru (männlich vorne / weiblich hinten)
- 1 x DC 2,1 x 5,5 mm barrel thru
- 1 x AC IEC thru (male front / female back)
- alle Anschlüsse gespiegelt auf der Rückseite
- Abmessungen exkl. Frontplatte (B x T x H): 160 x 60 x 33 mm
- Abmessungen der Frontplatte (B x H): 175 x 48 mm
- Gewicht 450 g
- inkl. Montageschrauben, Kontermuttern und TX Schlüssel

The improved RockBoard® MODs V2 are simple all-in-one patchbays for RockBoard pedalboards with a new, refreshed design, and compact housing. Utilizing the MOD slot on all new RockBoards® (except the DUO series), they provide various cable connections to fit a wide variety of needs as a convenient patchbay. With the RockBoard® MODs, you can permanently connect your pedals underneath your board and organize all connections to and from your effects setup in one convenient module. The RockBoard® MODs provide a central access point from your instrument to your amp, as well as your power supply via IEC, and a 2.1 x 5.5 barrel thru power connector. The RockBoard® MOD 1 V2 is a pass-thru box especially designed for guitar and bass players. It can also be used to run several pedals from your board through the effects loop of your amp, or as a central access point to your pedalboard via its 4x TRS thru connections. The XLR thru connection can be used as signal output from your pedalboard to the console or PA.
- all-in-one patchbay for pedalboards 
- fits MOD slots in RockBoard pedalboards
- compatible with a wide variety of other pedalboards
- acts as the central access point to your effects setup
- establishes clean cable paths to and from the pedal board
- detachable front plate for mounting on top or underneath pedalboards
- 5 x 6,3 mm / ¼" TRS thru
- 1 x XLR thru (male front / female back)
- 1 x DC 2,1 x 5,5 mm barrel thru
- 1 x AC IEC thru (male front / female back)
- all connections mirrored on the backside
- dimensions excl. front plate (W x D x H): 160 x 60 x 33 mm / 6 19/64" x 2 23/64" x 1 19/64"
- dimensions of the front plate (W x H): 175 x 48 mm / 6 57/64" x 1 57/64"
- weight 450 g / 0.99 lbs
- incl. mounting screws, counter nuts, and TX wrench

All-in-One TRS & XLR, IEC & Barrel Patchbay

Jimi Hendrix Live pedal board

Éloi Deraiche

The Shin-Ei Original Uni-Vibe is a legendary phase shifter effect pedal designed by audio engineer Fumio Mieda. Introduced in the 1960s, it was originally marketed as the Vibra-Chorus by Japanese company Shin-ei (then known as Honey). The pedal was designed to mimic the sound of radio signals from Russia undergoing atmospheric modulation, creating a unique chorus and vibrato effect for electric organ or guitar.

The original Shin-Ei Uni-Vibe features a distinctive metal hood with a mirror-like interior, an incandescent bulb, and four Light Dependent Resistors (LDRs). This unique arrangement is believed to be essential for producing the pedal’s signature sound. The pedal also has an external speed control foot pedal, allowing for precise control over the effect.

The Shin-Ei Uni-Vibe has been widely used by many famous guitarists, including Jimi Hendrix, David Gilmour, and Eric Clapton, to name a few. Its thick, rich “chorus” effect has become a staple in classic rock music. While many companies have copied the Uni-Vibe's design, many players agree that there’s no substitute for the original.

Shin-ei

Demo by Isaac Berumen

Demo by Fret Junkies

Official Website

Review by gilmourish.com

Review by Catalinbread Blog

Uni-Vibe

Eddie Park

Das VOX V863-CA ist ein revolutionäres Wah-Pedal, das ein klassisches manuelles Wah mit zwei innovativen Auto-Wah-Modi kombiniert: Envelope Generator und Envelope Follower. Im Gegensatz zu herkömmlichen Auto-Wahs, die Synthesizer-Schaltkreise verwenden, treibt es den Induktor direkt als Reaktion auf das Eingangssignal an, wodurch ein echter VOX-Wah-Ton erhalten bleibt. Das Pedal verfügt über Regler für Attack, Sens/Decay und Transition Time und kann nahtlos zwischen manuellem und automatischem Modus umschalten, was es ideal für Anfänger und erfahrene Spieler macht.

The VOX V863-CA is a revolutionary wah pedal that combines a classic manual wah with two innovative auto-wah modes: Envelope Generator and Envelope Follower. Unlike traditional auto-wahs that use synthesizer circuits, it drives the inductor directly in response to the input signal, maintaining a true VOX wah tone. The pedal features controls for Attack, Sens/Decay, and Transition Time, and can seamlessly switch between manual and auto modes, making it ideal for both beginners and experienced players.

Demo by Noisegate

Official Product Video

Product Page

Review by Music Radar

Review by Gear News

V863-CA

QuickMount Type M

Pedal-Montageplatte für Dunlop Cry Baby Wah-Pedale

Pedal Mounting Plates For Dunlop Cry Baby Wah Pedals

Landon Wolf

Eines der ikonischsten Pedale unserer Zeit ist ohne Zweifel das Dallas Arbiter Fuzz Face. Es wurde 1966 herausgebracht und erfreute sich schnell großer Beliebtheit bei vielen Musikern jener Zeit. Die erste Version verwendete Germaniumtransistoren, doch da diese zu schnell heiß wurden, stellte Dallas Arbiter um 1969 auf Siliziumtransistoren um.


One of the most iconic pedals of our time is with no doubt the Dallas Arbiter Fuzz Face. It was issued in 1966 and was quickly favoured by many musicians of the era. The first version used germanium transistors, but due to them getting too hot too quick, Dallas Arbiter moved around 1969 to use silicon transistors.

Dallis Arbiter

Demo by Guitare Collection

Demo by JimmyC

Wiki Page

Review by Fuzzboxes.org

Review by TonePedia

Fuzzface (1969)

Tester

 First made in 1962, it took until 1965 to catch on when Keith used one on Satisfaction – and the world of guitar tone was changed forever. The FUzz tone used three germanium transistors to amplify and clip the guitar’s signal creating fuzz, glorious fuzz…"

here it alive by Formula B "maestra" Fuzz Tone pedal

Formula B

Demo by  Alsmusicfactory TV Searching The Good Tone

Maestra Fuzz Tone

SIMON DOUCHAIN

The first Octavia pedal was designed by Roger Mayer in early 1967. It was created specifically for Jimi Hendrix, who used it on iconic tracks such as “Purple Haze” and “Fire”. This pedal was a groundbreaking effect that produced an octave higher tone than the original note played, achieved through electronic mirror imaging techniques.

Roger Mayer

Review by The Gear Page

Review by DIY Stompboxes

Demo by The Riff w Nik Sevigny

Demo by Pedal Pawn

Review by Spicers Music

octavia

Lee Atkin

Eine alte Pyramide der MACHT

Für viele Leute hat EHX gleich beim ersten Versuch mit dem Triangle Muff ins Schwarze getroffen – er klingt so aggressiv, so fokussiert, so … un-fuzz-ähnlich.
Tatsächlich ähnelt der Triangle Muff eher einem modernen Distortion-Pedal als den späteren Versionen des Muffs.

Vergleicht ihn mit unseren anderen klassischen Big Muffs und Fuzzes aus der gesamten Geschichte, um euren eigenen Sound zu entdecken!

An Ancient Pyramid Of POWER

For many people EHX got it right first time with the triangle muff, it just sounds so aggressive, so focused, so … un fuzz like.
Indeed the triangle muff is more akin to a modern distortion pedal than the iterations of muff which proceeded it.

Compare it along side our other classic big muffs and fuzzes from throughout history to discover your tone!

Electro-Harmonix

Demo by Gearmandude

Demo by Kit Rae

Big Muff V1

RockBoard

ISO Power Block V6

Für 9-18 FX-Pedale, 2 MOD-Slots - **722 x 330 mm / 28.43" x 12.99"** - erhältlich mit Gig Bag oder Flight Case

For 9 - 18 FX pedals, 2 MOD slots - **722 x 330 mm / 28.43" x 12.99"** - available with Gig Bag or Flight Case

Ein grafischer Equalizer, mit dem Sie den Frequenzbereich und die Q-Breite für die Klangformung von Gitarren einstellen können. Mit Nutube in der Vorverstärkersektion werden durch Anheben des Pegels charakteristische Röhrenobertöne und Kompression hinzugefügt. Wählen Sie Frequenzbänder von 100Hz/250Hz/570Hz/800Hz/2,2kHz/5,6kHz, die für eine intuitive Klangformung ausgelegt sind. Zur Erleichterung der aktiven Klangformung sind die Frequenzbänder so eingestellt, dass sie durch Verbreiterung der Q-Breite effektiver sind als bei einem typischen grafischen Equalizer. Es ist einfach, zwischen Backing und Solo zu wechseln sowie allgemeine Einstellungen vorzunehmen. Der Einsatz von Nutube im Vorverstärker sorgt für eine musikalische Verzerrung, wenn der Pegel erhöht wird. Das Fehlen eines Mittenklicks wurde absichtlich für einfache und feine Einstellungen konzipiert.

A graphic equalizer that allows you to set the frequency range and Q width tailored for guitar tone shaping. With Nutube in the preamp section, raising the level adds distinctive tube harmonics and compression. Choose frequency bands of 100Hz/250Hz/570Hz/800Hz/2.2kHz/5.6kHz, designed for intuitive tone shaping. To facilitate active tone shaping, the frequency bands are set to be more effective by widening the Q width compared to a typical graphic equalizer. It’s easy to use for switching between backing and solo, as well as for overall adjustments. The inclusion of Nutube in the preamp provides a musical distortion when the level is increased. The absence of a center click is intentionally designed for easy and fine adjustments.

Demo by  shadow's toy box

Demo by 楽器好きにはたまらない! フーチーズ 渋谷店 

Review by AMAZONA

Review by bonedo

Valvenergy Tone Sculptor

FUEL INJECTOR offers a distinctive overdrive with clean characteristics, rich harmonics, and a natural sense of compression and bite. Developed by amp manufacturer VOX, this overdrive pedal stands out for its amp-like distortion, in contrast to typical pedal distortions. Unlike effects that color the tone like preamp-style pedals, FUEL INJECTOR preserves its natural characteristics while distorting through Nutube, providing a tone that sounds as if your connected amp is pushed into even more distortion. Compared to many drive pedals, including TS-style ones, it features overwhelming harmonic components and a pronounced compression characteristic reminiscent of a tube amp. The harmonic richness created by distorting Nutube in multiple stages, along with the bias variations unique to tubes, produces a resonant tone, capturing the essence of an amp-like sound.

Demo by  THE AMP SHOP西田製作所 

Review by Sound on Sound

Review by Guitar Bomb

Review by Guitar World

Valvenergy Fuel Injector

 Introduced by VOX in 1967, the Wah-Wah pedal stemmed from the Midrange Boost feature of a VOX amp design and was initially marketed as a way to emulate Clyde McCoy’s trumpet mute technique. However, an unintended but music-changing use with electric guitar turned the Wah pedal into a vital tool for renowned artists such as Jimi Hendrix and Eric Clapton, driving the creation of now-legendary performances and songs. From the 1960s to today, the Wah pedal has become an essential tool for guitarists.

The new Real McCoy wah pedal perfectly emulates the original wah down to the component level. VOX engineers have worked hard to unravel the mysteries of the vintage McCoy wah model, resulting in a pedal that meticulously replicates the exact tonal characteristics.

The Real McCoy is voiced for the iconic nasal tone of the original wah model, with an accentuated midrange that imparts a warm and melodic character to your guitar.

Demo by BUZZBEE TV

Demo by kisugita_DIY

Real McCoy Wah VXVRM1

Introduced by VOX in 1967, the Wah-Wah pedal stemmed from the Midrange Boost feature of a VOX amp design and was initially marketed as a way to emulate Clyde McCoy’s trumpet mute technique. However, an unintended but music-changing use with electric guitar turned the Wah pedal into a vital tool for renowned artists such as Jimi Hendrix and Eric Clapton, driving the creation of now-legendary performances and songs. From the 1960s to today, the Wah pedal has become an essential tool for guitarists.

The new Real McCoy wah pedal perfectly emulates the original wah down to the component level. VOX engineers have worked hard to unravel the mysteries of the vintage McCoy wah model, resulting in a pedal that meticulously replicates the exact tonal characteristics. The Real McCoy Limited wah pedal is also available in a stunning chrome finish.