A firm natural overdrive with a pleasant silky sustain.  THE Fender Magic 6 sound!

An easy to handle overdrive with great sustain without any unnatural compression.  It keeps the characteristics of the tones that the guitars naturally produce.

The Jan Ray produces that great sustaining punchy clear tones of the Blackface Fender amps from the '60s.  The tone is crisp yet the lowed is warm and mellow.

The hallmark brass body provides great shielding from the outside and enables a noiseless tones.

Sound Design

• Multi-head magnetic media delay machine providing four playback heads with individual feedback, panning, and level controls
• Processor-intense algorithms deliver meticulously nuanced recreations of vintage magnetic echo systems (drum echo, tape echo, studio reel-to-reel echo)
• Dedicated control over echo machine tone and media: Low Cut, Mechanics, Wear
• Input Record Level for clean reproduction to warm, fat saturation
• Independent Spring Reverb
• Sound on Sound looping mode with reverse, pause, splice, and infinite repeat functions

Ins, Outs, Switches

• High impedance stereo input
• Stereo output
• Input Level switch allows for both instrument and line level signals
• On, Favorite, and Tap Tempo footswitches
• Expression pedal input allows the connection of an expression pedal, external tap pedal, 1/4" to MIDI cable, or MultiSwitch Plus.
• Full featured MIDI in/out supporting MIDI CCs, program changes, and more
• USB jack for controlling MIDI via computer

Audio Quality

• Analog dry path for a zero latency dry signal that is never converted to digital
• Premium JFET analog front end
• Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
• Super high performance SHARC DSP
• 32-bit floating point processing
• 20Hz to 20kHz frequency response
• Audio Input Impedance: 1M Ohm
• Audio Output Impedance: 100 Ohm

More

• True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass
• Strong and lightweight anodized olive green aluminum chassis
• 9V DC power supply included
• Power requirements: maximum 9 volts DC center-negative, with a minimum of 300mA of current
• Dimensions: 4.5" deep x 7" wide x 1.75" tall (114.3 mm x 177.3 mm x 44.5 mm)
• Designed and built in the USA

• info@larkguitars.com
• 210-384-4303

Product Description

DYNAMIC DISTORTION

• info@larkguitars.com
• 210-384-4303

Product Description

The Cali76 Compact Deluxe is an 1176-style studio-grade FET compressor, featuring high-current, low-noise, discrete Class-A circuitry and a dedicated parallel compression control… all contained in one compact, stompbox-sized package! 

We’ve managed to build all of the functionality from our flagship Cali76 Standard into this little marvel – and we’ve added the much-requested parallel mix control previously only found on our limited editions. Separate controls for Attack, Release and Ratio let you precisely tailor your tone, from transparent transient control to flat-out limiting and monster sustain. Meanwhile, the elegant jewel lamp functions as an intuitive three-colour gain reduction meter.

The ace in the hole is the Dry Blend control, which lets you mix your dry signal back in with your compressed guitar tone for true parallel compression. An indispensable studio recording technique, parallel compression gives you all of the tone thickening and increased sensitivity of the Cali76, while keeping hold of the natural dynamic expression in your playing. It’s the ultimate in transparent compression and sustain. By blending your “honest” guitar tone together with more subtle compression, you can also create the kind of three-dimensional, sparkling tone that you’re used to hearing on records, not coming out of your amp.

• info@larkguitars.com
• 210-384-4303

• info@larkguitars.com
• 210-384-4303

Product Description

The ExP™ Controller unleashes the full functionality of your Neunaber v2 Stereo Pedal—four programmable effects with two presets each, three expression inputs (one for each knob), and a Preset Morph expression input. Multi-color LEDs uniquely identify effects/presets and are easily seen from a distance.

Simply connect the ExP to any v2 Stereo Pedal with the included cable. No power supply is needed. Select the effect and program it with Pedal Customizer software. The footswitch behavior is also configurable per effect (see the Stereo Pedal Advanced User Guide). For example, you can configure a tap-tempo Echelon Echo as one effect and a Seraphim with long-press for shimmer as another effect.

Using Preset Morph with an expression pedal, you can smoothly transition between two presets, resulting in nearly infinite variation.

• Effect footswitch cycles through 4 programmable effects
• Preset footswitch toggles between 2 presets for each effect
• Three expression inputs—one for each knob
• Preset Morph expression input
• 12" cable included
• Powered by Stereo Pedal—no power supply required
• Control multiple pedals simultaneously (see the User Guide)
• Small footprint
• Made in Orange County, California USA

View 7 questions & 8 answers about ExP Controller for v2 Stereo Pedals

Take your guitars and synths to new ambient worlds and be inspired by real time tactile controls, an extensive modulation matrix, intra-tank pitch regen, and ambient swell.

Pro Audio Heritage in a Pedalboard Friendly Design

• Handcrafted Algorithmic Reverbs
• Analog Mix & Dry Signal Path
• High & Low Frequency Damping
• Extensive Modulation Capability
• Auto Swell Envelope (variable and foot-switchable)
• Stereo input and output
• Switchable input output headroom level for Guitar, Synthesizer or Line levels
• Expression pedal control over all parameters simultaneously
• Presets available via external 4-Preset switch or MIDI
• MIDI in/out over TRS via the EXP jack
• Premium analog signal path and 24-bit AD/DA w/32 bit floating point DSP
• Premium Analog Devices JFET input section
• Color – translucent coat of deep blue over brushed aluminum
• Designed and built in Los Angeles, California U.S.A.

Volume X Mini Pedal

DVP4

Use our new Red Remote with select JHS Pedals to remotely activate the on-board toggle found on the pedal itself. By connecting the Red Remote to a Red Remote equipped pedal with any 1/4” instrument cable, this essentially acts as an on-the-fly switcher to give you more tonal options in any setting.  The Red Remote is currently compatible with the following JHS Pedals:

Morning Glory V4

SuperBolt V2

Twin Twelve V2

When using the Red Remote, the remote itself will act as the toggle, therefore disabling the pedal's onboard toggle switch.  For example, if you have our Red Remote plugged into the SuperBolt, the SuperBolt's "GAIN" toggle will be deactivated and the Red Remote will switch the toggle on/off as you step on the footswitch.

To use the Red Remote, plug the remote into the jack of the pedal labeled "REMOTE..."  ...this jack will have a red washer to denote it is the appropriate jack to plug the Red Remote into.

NOTE: You can use any latching amp style footswitch or build your own too!

The Archer is sort of a 2 in one pedal. It can be used as just a clean boost by turning the gain all the way down. As you introduce gain it will attenuate the clean signal but there is a magical blend in between that you will find. Please experiment!!
Dimensions: 4.00″ x 2.30″

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

Buffered Switching

The Meris Preset Switch is the easiest way to save and access up to 4 different sounds on any one or more Meris pedal(s).

• Easily access up to 4 presets with instantaneous preset switching
• No external power required
• Connect with a single TRS cable (included)
• Control multiple pedals with a simple Y cable* (*not included)
• Designed to be aesthetically placed in front of 2 Meris pedals
• Includes 1 Flat 11″ TRS cable
• PCB socket for mini arduino* DIY midi projects (*not included)
• 8.5” wide, 2.25” deep, 2” tall
• Weight 10 ounces
• Includes 1 Flat 11″ TRS cable.

SUHR ECLIPSE

DUAL CHANNEL OVERDRIVE/DISTORTION PEDAL

The Suhr Eclipse is a versatile, no compromise, dualchannel overdrive/distortion that delivers a wealth of warm, organic amp-like tones in an easy to use, compact form factor.

Eclipse’s incredible versatility stems from its powerful and intuitive two channel circuit design. Each channel is completely independent, and features its own Gain, Level and 3-Band passive EQ, similar to a channel switching amplifier. Both channels can be voiced independently to accommodate all of your playing needs.

• Dual 1176-inspired compression circuits
• 100% Class-A discrete signal path
• Classic, ultra fast “FET” response
• Studio-grade discrete-transistor preamp
• Independent input level adjustment for each channel
• Attack/Release controls for each compression stage
• Optimised for guitar but can process any source
• High-current, low-noise electronics
• Ultra-wide frequency response
• Ultra-high input impedance
• Silent switching
• High-quality “signal-conditioning” bypass mode
• Premium components throughout
• Advanced power supply filtering and protection
• Flexible external power requirements (9-18V DC)
• PSU Spec. 42mA @ 9V / 58mA @ 18V
• Designed and built in England

To commemorate Free the Tones' 15th anniversary the Integrated Series is here. The String Slinger is the best in American Overdrive Tones based on the Classic Black Face Circuit, from Fat clean Boost, subtle harmonic clip, to Silky Blues overdrive. Best thing about this pedal is its realistic amp feel, No fight, all Feel and Pure Joy!! 

What Free the Tone has to say:

In order to achieve our concept of ideal sound, we began by restructuring all of the components in an effects unit based on our expertise and extensive experience cultivated and accumulated over the years, and our innate sense of tone, and ultimately arrived at our Integrated Series which was started as FREE THE TONE’s 15th anniversary project. The first release in this series is a pair of overdrive pedals.

We sought extended dynamic range, brilliant overtones, long sustain, quick but fat tone, and of course, the most important thing, pure and clean overdrive sound. In order to realize all of these things, we thoroughly investigated various electronic circuits and parts and all of the factors related to sound such as materials and weight of the case and knobs, magnetic fields, etc. After a few years and many prototypes, we finally completed the STRING SLINGER and FIRE MIST.

What Free the Tone says:

New HTS (Holistic Tonal Solution) Circuit: The Integrated Series device implements our renewed HTS (Holistic Tonal Solution) circuit. Unlike conventional buffer circuits, this newly designed circuit brings out individual sound characteristics of your guitar and amplifier to the utmost while providing impedance conversion and establishing both the ideal sound and low noise.

FREE THE TONE Custom Knobs: We developed a custom turned brass knob to reduce vibrations in the shaft and wiper of the semi-fixed resistor used for each control and to suppress harmonic components that adversely affect sound. Its diameter and weight were chosen after many repeated listening tests to obtain our ideal sound, “distorted but clean” overdrive.

Sound Casing Design: All of the parameters of a case – width, depth, and height, and plate thickness of the case – affect overdrive sound. When deciding the case size for our Integrated Series, we calculated all of the dimensions to provide the ideal sound. Its weight has also been optimized to deliver the best sound.

FREE THE TONE’s Unique IC Tone Plate: This metal plate for damping and shielding covers the top of an IC chip to make the most of the characteristics of the IC and to prevent noise contamination to the utmost.

Passive Tone Circuit: We adopted a passive tone circuit that minimizes the phase shift in guitar signals.

Input impedance: min. 500 kΩ

Output load impedance: min. 10kΩ

Controls: LEVEL, TONE, DRIVE

Terminals: 2× 1/4" phone jacks (for input and output), 1× DC9V input jack (for AC adapter)

Power supply: 9-volt battery (PP3/006P), AC adapter

Current consumption: approx. 8 mA

Dimensions: 98W × 120D × 51H mm (incl. protuberances such as footswitches, jacks, etc.)

Weight: approx. 640 g (excl. battery)

Accessories: warranty card, manual, battery (PP3/006P), 4x rubber feet

The Cali76 Compact Bass is an 1176-style studio-grade FET compressor, complete with dedicated controls for parallel compression and sidechain filtering. They've taken everything that was great about the original Cali76, added new features optimised for bass and compressed the whole lot down into a pedalboard-friendly package. 

A single combined Attack/Release control provides a continuous sweep of useful settings while avoiding combinations that can result in ugly distortion artefacts creeping into the lower registers. Meanwhile, the elegant jewel lamp functions as a three-colour gain reduction meter, providing vital and intuitive feedback to the player.

In addition to this pedal’s low-noise circuitry and fast, musical FET response, two special features lift the Cali76 Compact Bass above the competition. 

The first is the Dry Blend control, which lets you mix your dry signal back in with your compressed signal for true parallel compression, an indispensable studio recording technique. By combining the compressed and dry signals, you get all of the tone thickening and increased sensitivity of the Cali76’s 1176-style compression, while retaining the natural attack and dynamic expression in your playing. It’s the ultimate in transparent compression, both fat and punchy at the same time. 

This pedal’s second secret weapon is also culled from the studio engineer’s handbook. The Cali76 Compact Bass allows you to rein in the amount of compression applied to the lowest frequencies via a variable-frequency high-pass filter placed in the compressor's sidechain. With the HPF control dialled in, the compression ratio effectively becomes frequency dependant. The low strings come back to life, adopting an extra weightiness, power and dynamic response, while the higher strings are strictly controlled, preventing slapped and popped notes from leaping out of the mix. This unique bass compressor is like having your own studio engineer sat on your pedalboard! 

• info@larkguitars.com
• 210-384-4303

Product Description

Made in Petaluma, California with the World’s Finest Materials

100% Discrete Class-A STOWAWAY™ Input Buffer Circuit

Provides the tone & feel of plugging directly into a high-quality tube amp

RFI Filtering minimizes radio-frequency interference and noise

Segregated Send & Return Effects Loop provides guitar AND amp with a resolute load and source for the most consistent tone and feel possible

Integrated CLEARLINK™ Output Line Driver with +3db Level Comp Switch – Capable of driving long ¼” cable runs directly to your amp’s input

Tuner Output – Provides an “always on” buffered output separate from the main signal chain to feed tuner

Dual Function Boost/Mute (Tune) Footswitch – Press on/off to activate Boost –

Press and hold to activate Mute/Tune

Variable, Footswitchable Boost Control from Unity up to +22db of Output Boost

Boost On/Off Status LED

Mute (Tune) On/Off Status LED

9VDC External Power Jack Input (power supply not included)

Input Impedance: 1M Ohm

Output Impedance: 150 Ohm

Input Buffer Design: Discrete Class-A (MESA Stowaway™)

Output Buffer Design: High-Speed, Low Noise Op-Amp (MESA Clearlink™)

Nominal Operating Voltage: 9VDC

Maximum Operating Voltage: 12VDC

Typical Current Draw: 55mA @ 9VDC

DC Adapter (not included): WARNING!!! To avoid immediate damage and voiding the warranty, the External Power Supply MUST be 9VDC with a NEGATIVE CENTER and a 2.1mm x 5.5mm Barrel Plug

Weight: 0.743 lbs (337g)

Dimensions (W x D x H): 2.48 x 4.48 x 2.06 inch (63 x 114 x 52 mm)

MONSTER MOD MACHINE

Powered by advanced BOSS technology, the ultra-versatile MD-500 delivers nearly any type of modulation effect a musician could want, and then some. Included are 28 different algorithms with intensive programming parameters, offering a nearly limitless sound palette to create with. And with class-defying 32-bit AD/DA, 32-bit floating point processing, and 96 kHz sampling rate throughout, you’ll enjoy pristine sound quality that extends beyond the capabilities of the very best studio hardware.

Effects in the MD-500 include many new Prime types developed with cutting-edge BOSS tech, plus authentic sonic recreations of vintage classics like the CE-1 Chorus Ensemble, Roland Dimension D, ‘70s script phaser, ‘80s tri-chorus, and numerous others. With the ability to use two patches at once with A/B Simul mode, the MD-500 can likely cover all your mod needs with one convenient pedal. And by inserting drive pedals in the MD-500’s flexible external loop, it’s easy to place mod effects before, after, or around the loop as needed for the very best sound.

In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before.

The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease.

Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute.

JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. It is also the best for bass guitar.

73 Rams Head - “1973-1977 V2” The 73 Rams Head gets its name for the strange little elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.)

The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.

The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who).

The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).

The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM).

The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play.

With a pedal so stuffed with tasty tones you will have a hard time needing anything else to curb your appetite.

"I want to give a massive thank you to my good friend Jon Cusack and Cusack Music for helping this hefty idea be fully realized. Jon you are a wizard of circuitry and a deep well of design knowledge to the things that are over my head – Josh"

Product Description

To commemorate Free the Tones' 15th anniversary the Integrated Series is here. The Fire Mist is the best in British Overdrive Tones based on the fabled Plexi's, from clean Boost, subtle harmonic clip, to tight aggressive overdrive. Best thing about this pedal is its realistic amp feel, No fight, all Feel and Pure Joy!! 

What Free the Tone has to say:

In order to achieve our concept of ideal sound, we began by restructuring all of the components in an effects unit based on our expertise and extensive experience cultivated and accumulated over the years, and our innate sense of tone, and ultimately arrived at our Integrated Series which was started as FREE THE TONE’s 15th anniversary project. The first release in this series is a pair of overdrive pedals.

We sought extended dynamic range, brilliant overtones, long sustain, quick but fat tone, and of course, the most important thing, pure and clean overdrive sound. In order to realize all of these things, we thoroughly investigated various electronic circuits and parts and all of the factors related to sound such as materials and weight of the case and knobs, magnetic fields, etc. After a few years and many prototypes, we finally completed the STRING SLINGER and FIRE MIST.

 New HTS (Holistic Tonal Solution) Circuit: The Integrated Series device implements our renewed HTS (Holistic Tonal Solution) circuit. Unlike conventional buffer circuits, this newly designed circuit brings out individual sound characteristics of your guitar and amplifier to the utmost while providing impedance conversion and establishing both the ideal sound and low noise.

FREE THE TONE Custom Knobs: We developed a custom turned brass knob to reduce vibrations in the shaft and wiper of the semi-fixed resistor used for each control and to suppress harmonic components that adversely affect sound. Its diameter and weight were chosen after many repeated listening tests to obtain our ideal sound, “distorted but clean” overdrive.

Sound Casing Design: All of the parameters of a case – width, depth, and height, and plate thickness of the case – affect overdrive sound. When deciding the case size for our Integrated Series, we calculated all of the dimensions to provide the ideal sound. Its weight has also been optimized to deliver the best sound.

FREE THE TONE’s Unique IC Tone Plate: This metal plate for damping and shielding covers the top of an IC chip to make the most of the characteristics of the IC and to prevent noise contamination to the utmost.
Passive Tone Circuit: We adopted a passive tone circuit that minimizes the phase shift in guitar signals.

Input impedance: min. 1MΩ

Output load impedance: min. 10kΩ

Controls: LEVEL, TONE, DRIVE

Terminals: 2× 1/4" phone jacks (for input and output), 1× DC9V input jack (for AC adapter)

Power supply: 9-volt battery (PP3/006P), AC adapter

Current consumption: approx. 10 mA

Dimensions: 98W × 120D × 51H mm (incl. protuberances such as footswitches, jacks, etc.)

Weight: approx. 640 g (excl. battery)

Accessories: warranty card, manual, battery (PP3/006P), 4x rubber feet

Super-Modulated Delay inspired by cascaded rack gear.

Tidal soundscapes and super-modulated repeat trails will lead to new inspiration with every note you play. Guitar, synthesizer or any instrument will take on new shapes and forms with the Polymoon’s massive algorithmic flow.

Super-Modulated multiple tap delay

• 1200mS real time selectable multiple-tap delay line
• Massive multi LFO modulation controls
• 6 custom tuned LFOs with adjustable waveforms for subtle to aggressive pitch shifting effects
• Adjustable Tilt EQ filter in delay feedback
• Tempo syncable stereo Barberpole Phaser
• Multimode stereo Dynamic Flanger w/ feedback
• Unique feedback topology
• Dimension control for smearing reflections
• Selectable quarter or dotted eighth note Tap Tempo
• Digitally controlled Analog mix control
• Stereo input and output
• Switchable input output headroom level for Guitar, Synthesizer or Line levels
• Expression pedal control over all parameters simultaneously
• Presets available via external 4-Preset switch or MIDI
• MIDI in/out over TRS via the EXP jack
• External Tap Tempo over TRS
• MIDI beat clock synchronization
• Premium analog signal path and 24-bit AD/DA w/32 bit floating point DSP
• Premium Analog Devices JFET input section
• Color – white powder coat with fine iridescent flake
• Designed and built in Los Angeles, California U.S.A.