Amps and Effects for iOS
A modulation effect that mimics the sound of pressing on the flange of a tape reel as it plays back. The Warped Flange is capable of subtle colorotation and deep sound bending all in one pedal. The Warped Flange has controls for Feedback and Speed. The Feedback knob controls the amount of the flange effect, and the Speed knob controls how fast that effect happens. Slow Speed and low Feedback creates a subtle moving effect, while high Speed and Feedback warps the guitar into a deep siren-like wail. The Warped Flange can be set to Pre amplifier for a live effect or Post amplifier for a studio effect.
A Phaser pedal with a wide range of sounds from subtle texture to extreme warble. Especially useful on solos when combined with distortion, the Ultra Phase can thicken up lead tones and add movement to chords and arpeggios. The Ultra Phase has controls for Depth and Speed. The Depth knob controls how subtle or extreme the phasing effect is, while the Speed knob controls how fast the phasing occurs. Shallow Depth and slow Speeds give the Ultra Phase a subtle effect, while deep Depth and fast Speeds make for extreme, almost rotary-like warbling effects.
A wonderful clean chorus pedal with Depth and Speed controls. Shimmer excels at thickening up chords and solos with the Speed set lower, adding a real shimmering sound as the Speed gets faster. Pre and Post controls allow the effect to be added before or after the amplifier. Putting the chorus after the amp gives a studio-quality pristine sound, while setting it before the amp lets the tube stages blur some of the chorus for a more subtle effect.
A modulation effect that varies the pitch of a signal by a controlled amount. The Wobbluxe Vibrato has a range of tones, from subtle chorusing to fully out-of tune sound warping. The Wobbluxe Vibrato has controls for Range and Speed. The Range controls how far the pitch gets changed from the input signal. The Speed controls the rate at which the input gets changed. Low Range values with a low Speed create a chorus-like effect, while high Range values with a high Speed detune the signal out of key for a wobbly psychedelic effect.
A modulation effect that changes the volume of the input signal at a controllable rate. The Pulsator Tremolo Effect creates a powerful rhythmic sound that was often included with vintage amplifiers. As such, it is a popular effect in many diverse styles of music. The Pulsator Tremolo Effect has controls for Depth and Speed. The Depth knob controls how low the volume of the output gets with each pulse, from subtle variations in output to chopping silence with every pulse. The Speed knob controls the rate of the effect, from slow to rapid pulses.
An automatic band pass filter sweep. The BP Sweeper sounds like a constantly moving Wah pedal with adjustable rate via the Speed knob. The Depth knob controls how far the pedal sweeps its filter. The BP Sweeper is great for rhythmic auto-wah effects when you don’t want the wah tied to the dynamics of your playing.
An automatic high pass filter sweep. The HP Sweeper has a sound closer to a synth filter than a traditional wah, with a brighter tone and a reduced low end. The HP Sweeper has controls for Depth and Speed. The Depth knob controls the range of the filter sweep, and the Speed knob controls the rate at which the pedal performs its sweeps. This is a great pedal for more experimental sounds, especially in combination with delays and modulation pedals.
An automatic low pass filter sweep. The LP Sweeper sounds like an automatic wah pedal with a darker sound than traditional wah pedals. The LP Sweeper has controls for Depth and Speed. The Depth knob controls the range of the filter sweep, and the Speed knob controls the rate at which the pedal performs its sweeps. This is a great pedal for darker wah tones or bass players needing a rhythmic auto wah not tied to the dynamics of the input.
A fuzz pedal with an octave down effect. The Pocketavia has a classic rock sound, combining both a subtle octave and an over-the-top fuzz tone to create a monster of cutting distortion. The Pocketavia has controls for Input and Gain gain. The Input knob controls how much the input signal is boosted into the effect, determining how much of both octave and fuzz happens. The Gain controls the output of the fuzz effect. A low Gain control hits a gate which cuts off the output, a signature of classic fuzz and octave fuzz pedals. A high Gain control lets all of the signal through and drives the next stage of the signal chain.
A fuzz pedal with a slight grainy distortion effect and lots of character. One Gain knob takes the fuzz from slightly dirty to smooth distortion. Chain several Fuzzes together to reach violin sustain. Inspired by classic fuzz pedals from the 1970s using two Germanium transistors in a circuit, the Uranium Fuzz is a versatile distortion unit. Combine it with overdrive or octave fuzz in different orders to find unique distortion tones!
A classic distortion pedal with controls for Distortion and Tone. This pedal can get real nasty real fast, with a smooth tone that is more consistent than pure tube distortion. This particular model is inspired by popular mods of the Boss® DS1, with tweaks to the Tone knob range to match the distortion unit at Sonoma’s office. The Tone control goes from smooth to harsh, with a wide range of tones in between.
A combination overdrive and boost pedal. Combining the two most useful pedals for achieving classic overdriven amp tones, the Classic Drive has gain and output controls to unleash the gain of any amplifier. The Gain knob controls an overdrive circuit with a classic tube overdrive sound, while the Output knob controls the amount of clean level boost the pedal puts out. Set halfway, the Output control is set to unity gain, with neither boost nor cut. Anything over halfway starts to overdrive the input of the amplifier or the next pedal in the chain. This power makes the Classic Drive the ultimate in tonal versatility! This pedal is a must for high gain sounds, pushing already hot amps over the edge into distorted bliss.
Tube Sauce gets its name from the ever-present preamp tube used in most guitar amplifiers. This distortion pedal is just that: a preamp tube to add before your amp. Cranking the single gain control on the 12AX7 drives the input stage of the amplifier into fuzz territory, while dialing back the gain on the pedal, and adding several in a row, replicates the cascading distortion of modern tubes. In fact, modern high gain amp design began with the modification of classic amps with more tube stages, so modify your own virtual amp collection with these outboard tube stages. No soldering required!
A triode preamp tube in distortion pedal form. The Cream Dream is a triode tube with a smooth, creamy distortion. Adding the Cream Dream in front of an amplifier effectively adds another preamp gain stage to the amp. The Cream Dream has a single Gain knob which controls how much tube overdrive the pedal adds to the signal. Adding multiple tube pedals together creates a series of cascading distortions, adding up to an organic high-gain amplifier with a huge sound.
A mid-range equalizer pedal. The Mid Scoop is an equalizer tuned to the classic distorted amplifier midrange. Using the Mid Scoop gives any amp that characteristic middle frequency. The Mid Scoop has a single Gain knob that controls how much the middle frequencies get cut from the input signal. Subtle Gain settings give a hint of the scooped mid range, while extreme settings allow for extreme scooped high gain. The Mid Scoop is an essential element of many extreme metal tones, together with high gain amplifiers, compressors, and tube preamps.
A high frequency boost pedal. The Treble+ mimics an amplifier’s bright circuit, providing an enhanced high frequency to the preamp stages of the amp. This creates crisp, detailed clean tones and biting distorted tones. The Treble+ has a single Gain knob, which controls the amount of high frequency boost the pedal provides. Subtle use of the pedal can add detail to guitars with naturally dark sounds, while an extreme setting of the Gain knob creates a bright vintage tone that drives any preamps or distortion pedals next in the signal chain.
A digital delay pedal. The Lux Delay creates impressively accurate delayed versions of the input that get mixed into the output of the pedal. The Lux Delay has controls for Rate, Filter, Intensity, and Mix. The Rate knob controls the temp of the delayed signals. The Filter knob controls the frequencies that get cut each time the delay repeats itself, for a range of sounds from muted delays to crystal clear repeats. The Intensity knob controls the strength and number of delays. And the Mix controls the balance between the input and the delayed signals. The Lux Delay can be set to Pre or Post amplifier. When set to Pre, the delayed signal will be cut off if the Gate is still active.
A delay pedal with a complex delayed sound. The Tape Delay has a sophisticated network of delays and feedback that create a more natural organic delayed sound than normal digital delays, with tape saturation coloring the sound. The Tape Delay has controls for Rate, Filter, Intensity, and Mix. The Rate knob controls the temp of the delayed signals. The Filter knob controls the frequencies that get cut each time the delay repeats itself, for a range of sounds from muted delays to crystal clear repeats. The Intensity knob controls the strength and number of delays. Mix controls the balance between the input and the delayed signals. The Tape Delay can be set to Pre or Post amplifier. When set to Pre, the delayed signal will be cut off if the Gate is still active.
A slapback echo with controls for Size and Ambience. Like the name suggests, the Va-Room replicates the sound of playing loud in a closed room. Not quite a reverb and not quite a delay, the Va-Room is a great effect for adding subtle depth to your tone, and can range from a slight doubling of the guitar to a short delay useful in country, rockabilly and rock. Size control changes the length of the echo, and Ambience changes the level of the echo.
A reverb pedal. The Homebrew ‘Verb allows for a range of reverb effects, from short and subtle echo to full blown washed out reverb goodness. The Homebrew ‘Verb has controls for Damping, Size, Predelay, and Mix. The Damping knob controls how long the reverb tail lasts, from short and sweet to long and lingering. The Size knob controls how large the reverb is, from a small room to a large cathedral. The Predelay knob controls how much delay exists between the clean signal and the reverb signal. And the Mix knob controls the balance between the clean signal and the reverb signal. The Homebrew ‘Verb can be used Pre or Post amplifier, with Pre sounding more like the built-in reverb of an amplifier, and Post sounding more like a studio effect.
An automatic filter sweep pedal with controls for Touch and Range. The AutoWah triggers its wah effect from the strength of your playing, so loud plucks get wah-ed, while subtle playing does not. The Touch control sets the sensitivity needed to trigger the wah, and the Range control determines the sweep of the effect. The original wah pedals were influenced by the sound of muted trumpets, and the auto-wah can achieve the same honking rhythm tones and muted vocal solos without the use of a foot controller.
A classic wah pedal. The Black Wah has a distinctive sound common to many genres of music. Using a sweeping band pass filter controlled by a foot treadle, the wah effect is the defining electric guitar pedal. The Black Wah has a single treadle control that changes the frequency of the pedal’s filter, from low and muddy to high and bright. Moving the control while playing creates a vocal effect, while keeping the pedal in one place adds a nasal tone, especially to distorted guitars.
A vintage wah pedal. The Chrome Wah sweeps frequencies to mimic the sound of a muted trumpet, giving a vocal honk to a guitar signal. Adding overdrive creates an exaggerated vocal effect. The Chrome Wah has a single treadle control that changes the frequency of the pedal’s filter, from low and muddy to high and bright. Moving the control while playing creates a vocal effect, while keeping the pedal in one place adds a nasal tone.
A classic wah pedal. The Funk Wah uses a different type of filter than more traditional wahs, creating a distinctive tone used in funk music. This extreme wah effect is useful whenever you need an exaggerated wah effect. The Funk Wah has a single treadle control that changes the frequency of the pedal’s filter, from low and muddy to high and bright. Moving the control while playing creates a vocal effect, while keeping the pedal in one place adds a nasal tone.
An automatic filter sweep pedal for bass guitars. The Low Rider triggers its wah effect from the strength of your playing, so loud plucks get wah-ed while subtle playing does not. The Low Rider has a lower frequency sweep suited for low notes. The Touch control sets the sensitivity needed to trigger the wah, and the Range control determines the sweep of the effect. The Low Rider is perfect for bass players looking for a funky tone powered by their own playing dynamics, or for baritone guitar players who want a full wah tone down to their lowest note.
A filter pedal with one band of controllable boost or cut. The ParaQ Equalizer allows for the custom tailoring of one frequency band, allowing for very specific and personal changes to overall tone. The ParaQ Equalizer has controls for Frequency, Gain, and Q. The Frequency knob controls the center frequency the pedal will effect. The Gain controls how much boost or cut the pedal gives to that frequency. And the Q controls the bandwidth of the effected signal around the center frequency. The ParaQ Equalizer can be used Pre or Post amp. Using it Pre amplifier lets the pedal be used as another tone stack or even a boost or scoop pedal. Using it Post amplifier lets the pedal act as a studio equalizer, shaping the overall tone without effecting the cascading nature of the amplifier.
A compressor pedal with control for Attack, Release, and Amount. The Attack and Release knobs control how fast the Fatti responds to incoming signals, while the Amount knob controls the threshold that the effect begins. The Fatti Compressor controls the dynamics of input signals, allowing for expressive playing to consistently hit the amplifier for a more consistent tone. Useful in many styles of music from country to metal, and for rhythm or leads. Used in conjunction with distortion pedals, the Fatti is essential to producing modern high gain tones.
* GuitarTone includes many great sounding tones that are inspired by, not exact simulations or models of, the gear above. Product names are trademarks of their respective owners, which are in no way associated or affiliated with Sonoma Wire Works. Trademarks are used solely to identify the products of those manufacturers whose tones and sounds inspired the creation of GuitarTone.
Bogner is a registered trademark of Bogner Amplification.
Cry Baby is a registered trademark of Dunlop Manufacturing, Inc.
Earthworks is a registered trademark of Earthworks, Inc.
Fender, Bassman, Twin, and Vibrolux are registered trademarks of Fender Musical Instruments Corporation.
Gibson is a registered trademark of Gibson Guitar Corp. Hiwatt is a registered trademark of Fernandes Company Ltd.
Marshall is a registered trademark of Marshall Amplification Plc.
Mesa and Maverick are registered trademarks of Mesa/Boogie Ltd.
Neumann is a registered trademark of Georg Neumann GmbH.
Neve is a registered trademark of AMS Neve Limited.
Peavey is a registered trademark and Nashville is a trademark of Peavey Electronics Corporation.
Royer Labs and R-121 are registered trademarks of Bulldog Audio, Inc. (Royer Labs).
Sennheiser is a registered trademark of Sennheiser Electronic Corp.
Shure is a registered trademark of Shure, Inc.
Silvertone is a registered trademark of Samick Music Corporation.
Tube Screamer is a registered trademark of Hoshino Gakki Co. Ltd.
Vox is a registered trademark of Vox R&D Limited.
Watkins Dominator is a registered trademark of Watkins Electric Music Ltd.
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and Engineered by Sonoma Wire Works.
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