Pedro Almeida

Jazzmaster 

New pitch delay mod

AC15CC2

Jay Jay

Der 1312 begann sein Leben als physische Verkörperung einer der Grundüberzeugungen von Black Mass Electronic: Black Lives Matter. Es bot uns auch eine umsetzbare Möglichkeit, unsere Unterstützung finanziell zu demonstrieren. Diese neue Version des 1312 verkörpert ein weiteres wichtiges Gefühl: Trans-Rechte sind Menschenrechte. 50 % der Gewinne aus diesen Pedalen werden zwischen mehreren Organisationen aufgeteilt, deren Anliegen wir unterstützen – No More Dysphoria, Transgender Emergency Fund, Asian American Resource Workshop, Black & Pink – Boston und Solidarity North Shore.

The 1312 began its life as a physical embodiment of one of Black Mass Electronic’s fundamental beliefs: Black Lives Matter. It also provided an actionable avenue for us to demonstrate our support monetarily. This new iteration of the 1312 embodies another important sentiment: Trans Rights are Human Rights. 50% of the profits from these pedals will be split between several organizations whose causes we support - No More Dysphoria, Transgender Emergency Fund, Asian American Resource Workshop, Black & Pink - Boston, and Solidarity North Shore.

Black Mass Electronics

Product Page

Review by guitar.com

Manual

Demo by Megan L

Demo by collector//emitter

Demo by TUNNEL OF REVERB

Demo by ambienttrash

1312 Distortion V3

Adzim Ezani

HX® One is a powerful stereo effect pedal in an ultra-compact enclose that easily fits onto any pedalboard. It features intuitive controls, 250+ effects taken from HX family processors, a unique Flux Controller, a jack for connecting an optional expression pedal or two footswitches, adjustable input impedance, MIDI capabilities, and a choice of true or buffered DSP bypass.

LINE 6

Demo by Line 6

HX One

QuickMount Type C

Pedalmontageplatte für große vertikale Pedale

Pedal Mounting Plate For Large Vertical Pedals

ch ray

Petrichor is a lo-fi delay sequencer pedal based on 2399 chip.

Polarbear Effects

Review by delicious audio

Review by guitar pedal X

Official Product Video

Demo by Ambient Exploration

Petrichor

Tomasz Galek

Portal ist ein aktiver Signalmischer mit zwei Betriebsarten: parallel und seriell. Im Parallelmodus verfügt der Signalmischer über zwei Send/Return-Schleifen und einen Hauptausgang, der drei unabhängige Eingänge zu einem zusammenfassen oder bei Bedarf als aktiver ABY verwendet werden kann. Im Serienmodus sind A und B serielle Kanäle. Wenn der A/B-Schalter geschlossen ist, wird Kanal A oder B überbrückt. Wenn alle drei Schalter geschlossen sind, handelt es sich um einen echten Bypass.

Portal is an active signal mixer with two working modes: parallel and series. In parallel mode, the signal mixer has two send/return loops and one main output, which can combine three independent inputs into one, or can be used as an active ABY as needed. In series mode, A and B are series channels. When the A/B switch is closed, channel A or B is bypassed. When all three switches are closed, it is true bypass.

Sonicake

Review by reddit /guitarpedals

Demo by Pedal Picassos

Demo by David Greer

Portal

Tester

Whammy effects in a single stompbox pedal
7 pitch intervals shift across a 4 octave range

DigiTech

Review by musicradar

Demo by ProGuitarShopDemos

Whammy Ricochet

Das Z.Vex Fat Fuzz Factory Vexter ist das neue Fuzz-Effektpedal für E-Gitarre, das die Grundfunktionen des Fuzz Factory-Pedals um einen 3-Wege Schalter erweitert, mit Hilfe dessen unterschiedliche Oszillationen bzw. Oktaven angewählt werden können. Mit den Schaltern Volume und Drive wird die Ausgangslautstärke bzw. die Stärke der Verzerrung eingestellt. Daneben kann der Sound des Z.Vex Fat Fuzz Factory Vexter mit den Noisegate-, Compressor- und Stability-Reglern verfeinert werden. Z.Vex Fat Fuzz Factory Vexter.

This 25th Anniversary Vexter Series Fuzz Factory features UV printed art. The parts inside are identical to the hand painted model.

Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz. Includes an on/off LED and center-negative DC power jack.

ZVEX

Zvex Effect Product Page 

Demo by G. Wooden

Fuzz Factory 25th Anniversary Ed.

The Broadcast is a transformer coupled, discrete Class-A germanium pre-amplifier based on the classic broadcast consoles of the 1960s. In the low-gain setting, the Broadcast can cover everything from sparkling clean boost through to transparent overdrive, all with a healthy dose of volume available to push your amp. The Broadcast features a specially selected Triad steel-core transformer and a Germanium transistor. Advancing the gain on the Broadcast starts to saturate the transformer and the pedal’s discrete circuitry, giving rise to a gentle and dynamic compression coupled with subtle thickening of the mid-range. With the gain switch in the high setting and the trim control wound up, the Broadcast starts to deliver heavier distorted sounds with a warm and fuzzy edge to them. The Broadcast covers a wide range of driven and distorted tones whilst remaining dynamic, responding well to pick attack and the subtle nuances of every player.

Hudson Electronics

Review by THE JHS SHOW 

Review by

Demo by The Tone Lounge 

Demo by shnobel

Broadcast

QuickMount Type D

Pedal-Montageplatte für große horizontale Pedale

Pedal Mounting Plate For Large Horizontal Pedals

Der Small Stone von Electro Harmonix ist ein Phaser-Pedal, das 1974 von David Cockerell entwickelt wurde. Im Gegensatz zu seinem Hauptrivalen, dem MXR Phase 90, der einen JFET-Transistor verwendet, um die Frequenz seiner vier Stufen zu variieren, ist seine Schaltung um einen Transkonduktanz-OP-Verstärker herum aufgebaut. Der Small Stone wurde unter anderem von David Gilmour und David Bowies Gitarristen Carlos Alomar verwendet und war von Anfang an ein großer Erfolg, so dass er noch immer im Katalog der in Long Island ansässigen Marke zu finden ist.

The Small Stone from Electro Harmonix is a phaser pedal that was developed by David Cockerell in 1974. Unlike its main rival, the MXR Phase 90, which uses a JFET transistor to vary the frequency of its four stages, its circuit is built around a transconductance op-amp. Used by David Gilmour and David Bowie's guitarist Carlos Alomar, among others, the Small Stone was a huge success from the start, so much so that it can still be found in the Long Island-based brand's catalog.

Electro-Harmonix

Demo by Musicmaker

Review by Reddit /guitarpedals

Review by MusicRadar

Small Stone

PedalSafe Type A1.1

QuickMount Type A

Pedal-Montageplatte für Standard-Einzelpedale

Pedal Mounting Plate For Standard Single Pedals

Schutzabdeckung & RockBoard-Montageplatte für MXR® Standardgröße und Dunlop® Echoplex Delay Pedale

Protective Cover & RockBoard Mounting Plate For MXR® standard size and Dunlop® Echoplex Delay pedals

Schutzabdeckung & universelle Montageplatte für MXR® Standardgröße und Dunlop® Echoplex Delay Pedale

Protective Cover & Universal Mounting Plate For MXR® standard size and Dunlop® Echoplex Delay pedals

Esben Dyrhovden

Get the wobbly, disjointed, decidedly un-hifi sound of recording to cassette. Without the need to record to cassette. Or record at all!
The unique, dynamic vibrato responds to your playing strength and can get fairly extreme if you want. Adjust the 'Sensitivity' control to dial in the intensity of it's response, from subtle to almost complete tape stop!

Adjust the character control to give you anything from clean and jangly, to saturated and wooly tones. It changes the response of the tape saturation and tone circuits in one go, making it really easy to dial in the kind of cassette vibe you're after.

Bleak District Electric

Demo by Pair of Pandas

Demo by Eric Merrow

RecHead

Mit hochwertigem Sound und vielseitiger Einsatzmöglichkeit hebt der **RV-6** Reverb-Pedale auf ein neues Level. Über die Möglichkeiten vorheriger Generationen hinausgehend, vereint dieses leistungsstarke Pedal modernste Technologie mit dem legendären BOSS-Know-how – so lassen sich beeindruckende Reverb-Sounds im Handumdrehen abrufen.  

Von dezenten Raumklängen über moderne Shimmer-Effekte bis hin zu langen, atmosphärischen Reverbs umhüllt der RV-6 deinen Sound mit dichten, inspirierenden Klangwelten.

Combining high-end sound and wide-ranging versatility, the RV-6 takes pedal-based reverb to the next level. Reaching beyond the capabilities of previous generations, this powerful stomp employs the latest tech and legendary BOSS know-how to make it easy to get amazing reverb tones instantly. From subtle rooms to modern shimmer effects to long, evocative reverbs, the RV-6 envelops your tone in lush ambient spaces that endlessly inspire.

BOSS

Review by Guitar.com

Review by Music Radar

RV-6 Reverb

PedalSafe Type E1

QuickMount Type E

Pedal-Montageplatte für Standard-Boss-Pedale

Pedal Mounting Plate For Standard Boss Pedals

Schutzabdeckung & RockBoard-Montageplatte für BOSS Compact Serie, RC3 LoopStation & RC5 LoopStation Pedale

Protective Cover & RockBoard Mounting Plate For BOSS Compact Series, RC3 LoopStation & RC5 LoopStation pedals

Schutzabdeckung & universelle Montageplatte für BOSS Compact Serie, RC3 LoopStation & RC5 LoopStation Pedale

Protective Cover & Universal Mounting Plate For BOSS Compact Series, RC3 LoopStation & RC5 LoopStation pedals

Für 5-10 FX-Pedale, 1 MOD-Slot - **442 x 236 mm / 17.40" x 9.29"** - erhältlich mit Gig Bag oder Flight Case

For 5 - 10 FX pedals, 1 MOD slot - **442 x 236 mm / 17.40" x 9.29"** - available with Gig Bag or Flight Case

Ein diskretes Overdrive-Pedal, das weder Operationsverstärker noch Dioden-Clipping verwendet. Stattdessen setzt es auf hintereinandergeschaltete Transistor-Verstärkerstufen, um einen satten und nuancenreichen Overdrive-Sound zu erzeugen. Dieses Pedal wurde entwickelt, um Musikern zu helfen, ihren idealen Overdrive-Ton zu erreichen – egal, ob sie einen cleanen oder verzerrten Verstärker verwenden.

A discrete overdrive pedal that does not use opamps or diode clipping. Instead, it relies on cascading transistor gain stages to create a rich and textured overdrive sound. This pedal is designed to help musicians achieve their ideal overdrive tone, whether they are using a clean or dirty amplifier.
Key Features
Analog Design: The pedal is entirely analog, providing a warm and natural sound that many musicians prefer over digital alternatives.
Cascading Transistor Gain Stages: This design allows for a wide range of overdrive tones, from vintage pushed clean sounds to modern, saturated overdrive.
Controls:
Level: Adjusts the overall output volume. Start low and increase to taste.
Drive: Controls the amount of overdrive and saturation; interacts with other controls for a customized sound.
Tone: Balances the EQ, allowing for more treble or bass depending on the setting.
Body: Adjusts the low-end presence, tightening or thickening the tone as needed.
Bias: Controls the internal bias voltage, affecting the gain and texture of the sound. Low bias offers a vintage feel, while high bias provides a thicker, modern tone.
True Bypass Relay Switching: Ensures that the pedal does not color the tone when not in use.
Overvoltage Protection: Safeguards the pedal from power surges, enhancing durability.
Usage
The CSOF is versatile enough for various musical styles, making it suitable for guitarists and bassists alike. It can be used to create everything from subtle overdrive to heavy distortion, depending on the settings and the amplifier used.
For more detailed specifications and to purchase the pedal, you can visit the official Black Mass Electronics website here. Additionally, a comprehensive overview of its features can be found on Delicious Audio. 


Review by Delicious Audio

Ceremonial Show of Force

Growing up learning how to play guitar, my house had one pedal: my dad’s ’73 Rams Head. This sound is ingrained in my psyche. Black Mass started its life with me trying to clone this pedal. When I started working on The First Herald, I decided to start fresh. I scrutinized every component value, and spent months finalizing it. While the topology remains similar, the sound is modern, decisive, and unmistakably malicious.

The First Herald

The First Herald features two independent and reversible circuits. The Fuzz takes advantage of a modernized tone stack and three distinct clipping modes.  An added Scoop control allows you to dial in exactly where you want to sit in the mix. All the way down, you have a full and present fuzz, but turn it up to add some of that signature midrange scoop. The clipping section is extra special. With the toggle to the left, both soft-clipping stages utilize a hybrid MOSFET/LED combo for a huge, open, cutting fuzz. To the right, the two clipping stages use traditional silicon diodes for extra compression and that smooth, squashed, vintage sound.
The Boost side is a simple discrete boost circuit. The magic here comes from the order reverse switch that allows you to run the boost before or after the fuzz. Run Boost before for extra thick Fuzz saturation, or run it after to drive the amp harder or for a solo level boost. This is not a clean boost, it adds some color, grit, and tons of volume, making it the perfect accompaniment for the Fuzz side.

The First Herald Big Box

The Kill Chain is a pedal designed to accomplish a specific set of goals. First, I wanted a fuzz full of aggression, and raunchy raucousness. Second, I wanted a simple feature set that was easy to understand and dial in—nothing to obsess over or fiddle with. Plug it in and rip. And third, I wanted a pedal that felt worth more than the price of admission, both in dollar value, and versatility of the feature set.

I decided to forego the traditional EQ tools. No tone knob, no active tone stacks, no adjustable high pass filters. I chose a fixed filter towards the end that gave me what I felt was perfect for how I play, while still feeling natural across multiple pickup, amp, and music styles. I implemented the Depth toggle to give me control at the front of how much bass entered the circuit. This toggle provides a wide range of heft, and helps you make easy adjustments between different guitars and pickups. The Level control also adjusts treble frequencies as you adjust the volume. I found when I was playing at lower fuzz volumes I liked more treble, but as I turned up the volume they could get out of control. As you increase the level control treble is attenuated, which keeps everything balanced. The final EQ tool to the party was the Bleed toggle. This toggle does a few things. First, it adjusts the cutoff frequency down for less prominent treble across the Level sweep. It reduces the overall compression for a more open and aggressive sound. Finally, it gives a massive volume boost.

Demo by Noise Generator

Kill Chain

1312 Distortion V3 by Black Mass Electronics