The Dual Band Metalloid brings parallel path processing and recording studio-mixing quality to our range of distortion pedals. It is in fact two separate distortion sections that are driven by internal splitter circuitry and then mixed back together. The Low and High Band distortion circuits have been carefully optimised to now give much improved individual control of the range of notes used. The range of sounds available is truly immense as varying amounts of Distortion and EQ can be applied to each band and then mixed together. This is a technique we used in the studio with Jimi to get the required tone. Using various pedals in series or equalisation will not accomplish this as processing is applied to the whole frequency range. This is a much more sophisticated processing technique that brings welcome control to live performance situations where two guitar sounds are seamlessly required and pedal stomping is not a musical or performance option. The Low Band sound controlling bass string riffs and the High Band sound set for solo work as you progress up the neck. It is has been designed not just for Hard Rock or Heavy Metal but is equally at home for Finger Pickin Slide Blues, Rebel Country Styles and Resonator guitars all which require different tones for the bass strings and solo riffs.
The Synergy Series brings parallel path processing and recording studio-mixing quality to our range of distortion pedals. Each pedal has two separate distortion sections that are driven by internal splitter circuitry and then mixed back together. The Low and High Band circuit paths have been carefully chosen from our extensive range of tried and critically acclaimed distortion, fuzz and overdrive circuits. It is best visualised as two separate channels with individual control of the important parameters and then mixed together to form one sound.
The Low and High Band circuit path channels have individual Drive and EQ controls that been optimised for the type of circuit being used. The resulting range of sounds available is truly immense as varying amounts and types of Processing and EQ can be applied to each channel or band and then mixed together. This is a technique we used in the studio with Jimi to get the required tone. Using various pedals in series or equalisation will not accomplish this as processing is then applied sequentially and to the whole frequency range. The advantages of this technique become immediately apparent upon playing the units. The amount of flexibility in adjusting the tone is truly immense and these boxes will appeal to those players that seek out and appreciate the subtleties of manipulating their tone to the highest level.
It should not also be forgotten that there is a financial saving as well as in fact you are getting two pedals for one plus a splitter and mixer for about 120% of the price of one of our single units. You also have a space saving on your pedal board with a very flexible unit that will produce more tonal variation that you can imagine.
The Filter Twin® uses two identical filters sweeping in opposite directions - one up in frequency, one down in frequency - to give classic 70's-inspired funk sounds or completely new and original filter tones. Two filters sweeping at the same time give you a more organic, vocal quality and allow you to get expressive new sounds that you can't get from other pedals.
The Filter Twin® offers unique filter effects via an intuitive four-knob layout. The blend control allows you to adjust the mix between the filters. The threshold control determines how sensitive the unit is to different playing styles. The velocity controls determine the speed of each filter.
The HT-REVERB can take you from your room to an arena via hall, plate, spring, gate and reverse reverb effects. Valve compression and harmonics are added using the Dwell control, and you can switch the reverb time from short to long while you are playing.