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Inspired by the VOX® AC15*. A small club amp from the British Invasion. The Brilliant 15 has all the jangle and chime needed for wonderful pop rhythms and spacey arpeggios. Cranked all the way up, there is just a hint of overdrive that goes with the dynamics of your playing. The single 12 inch speaker gives the Brilliant 15 a recognizable British pop sound, and the cab works well with other amps to give some of that famous jangle! |
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Inspired by the VOX® AC30 Top Boost*. A classic rock and roll amp from the British Invasion. With jangly cleans, smooth overdrive, and a cabinet sporting two 12 inch speakers, the Boost 30 is ready to be your go-to amplifier! Inspired by a vintage Vox® AC-30 with Top Boost circuit, the Boost 30 takes the best characteristics of a classic rock amp and pushes them a bit more to make getting creamy overdrive lead tones even easier. This is just the amp for those stadium rock tones, without sacrificing the jangle or crunch that made the original so popular. |
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Inspired by the VOX® AC30 Rootbeer Fawn*. A vintage amp from the UK. The Rootbeer 30 is equally at home playing garage rock rhythm or country leads. With a high dose of sparkle, this amp specializes in clean and crunch tones. Inspired by a vintage Vox® AC30 from the Root Beer panel era in Fawn tolex, the Rootbeer 30 uses two 12 inch speakers to get clean twangs and roaring crunch tones with a distinctive high end. |
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Inspired by the Gibson® GA-55*. A vintage jazz amp from the early days of electrified guitars. The 55 has plenty of cleans and only gets a little bit of smooth crunch when turned all the way up. Perfect for any clean guitar sound, but especially useful for a jazzy clean lead tone. Inspired by a vintage Gibson® GA55, the 55 amp uses a classic circuit to produce its full clean tones. This amp works well with delay and modulation pedals for a full, atmospheric clean wall of sound. The 55 cab has a very tight sound from two 12 inch speakers that lend a focused midrange to any amp. |
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Inspired by the Marshall® 1960 Slant*. The classic rock and roll amp. Inspired by the most popular British amplifiers, the 60 Slant churns out soaring leads, heavy palm mutes, and crunchy chords all from the same amp. If you want to clean up the amp, roll back the volume on your guitar and you get a chimey clean tone. The 60 Slant cab is a classic in its own right. Modeled after the Marshall® 1960A, the 60 Slant gives any amplifier an instant rock sound. With four 12 inch speakers, everything sounds better coming through a stack of 60’s! |
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Inspired by the Marshall® 1960 Straight*. A classic rock and punk amp from the UK, the 60 Straight is all about crunch. Play a power chord through this amp with the gain all the way up and feel the power cut through! The 60 Straight has a recognizable sound and feel that screams classic rock. Taking cues from Marshall® amps of the 1970s and 80s, the 60 Straight is perfect for classic rock, punk and metal from those eras. The Cabinet uses four 12 inch speakers with a wonderful gritty rock sound that shines when combined with high gain amplifiers for any style of music that needs screaming tones that cut through a mix. Don’t think this is a one trick pony, as the 60 Straight cab works well with clean amps as well, with a distinctive mid range tone great for rock and alternative music. |
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Inspired by the Marshall® JH 100 Slant*. A vintage rock amp from the UK. The 100 Slant is made for classic clean and crunch tones from the 1960s. The amp starts clean and adds a thin crunch as the gain is turned up, without ever losing the basic character of the clean. Inspired by the Marshall® Super 100, the 100 Slant matches perfectly with single coil pickups to give a cutting rhythm tone without sounding muddy. The extra large cab has four 12 inch speakers for a monstrous sound from any amp. |
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Inspired by the Marshall® JH 100 Straight*. A vintage rock amp from the UK. The 100 Straight is a crunch machine, with a solid low end and a responsive gain knob. Matched with overdrive pedals, it churns out stadium grade rhythm sounds and singing leads. Inspired by the Marshall® Super 100, the 100 Straight has a strong classic rock heritage. The Four 12 inch speakers have a tight sound designed to compliment overdrive and distortion, as well as any effects you can throw at it! |
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Inspired by the Fender® Vibrolux®*. An American amp that specializes in clean and overdrive tones. The Blackface Lux excels at clean and overdriven tones, especially for lead work in blues, country, and rock. Inspired by a Fender® Vibrolux® from Fender’s Blackface era, the Blackface Lux shines for clean and crunch tones. The original amp started breaking into overdrive at such loud levels, many people modified their amps by removing two of the four power tubes to try and save their hearing. Adding an overdrive pedal before the amp helps get the tone dirty while keeping volume levels reasonable. The crystal cleans and loud volumes of the Lux have made it a staple of any amplifier collection, and the overdrive pedals that various artists ran into their Lux amps have become legendary. |
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Inspired by the Marshall® Bluesbreaker*. A British take on the classic American Blues Amp. With a different midrange tone and power amplifier, the Brit Blues has its own distinct blues character that set the British blues guitarists apart sonically. The smooth overdrive and heavy tone of the separated cab became the blueprint of British rock and roll. With four 10 inch speakers, the Brit Blues cab has a tighter midrange than most full stacks, and works well for classic rock and blues tones. |
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Inspired by the Peavey® Classic 40*. A modern American blues amp. The Classic Blues is based on a classic tweed amp circuit, but with more gain available and a brighter sound. Inspired by the Peavey® Classic 40, the Classic Blues has four 10 inch speakers with a bright, punchy sound that works well with overdriven tones. Good for classic tweed sounds, it also gets more distortion for rock and punk sounds bordering on a British overdrive tone. Add an overdrive pedal and the Classic Blues is extremely versatile, covering any clean and overdriven sound. |
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Inspired by the Marshall® Closed Back*. A British high gain amp. The Closed Back has a dark tone while still retaining a tight low end, resulting in a pushed midrange that compresses as the Gain and Volume knobs turn up. Based on modern Marshall® amps, The Closed Back gets its distinctively aggressive tone from two 12 inch speakers that give any amp a tight low end response and British midrange growl. |
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Inspired by the Marshall® Closed Back*. A modern British high gain amp. The Closed Back Slant has more gain than vintage British amps without going over the top, and the closed back of the cabinet gives more low end focus for tight rhythm tone, even with the added gain. Great for rock, metal, and punk music, the Closed Back Slant cuts well with a grinding tone. The slanted cabinet has two 12 inch speakers despite looking like a stack of four 12s, and the distinctive cabinet gives the Closed Back Slant a powerful low end perfect for heavier music, with clarity and punch. Add some Cream Dream pedals and a Mid Scoop into the pedalboard and this amp turns into a metal monster! |
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Inspired by the Hiwatt®*. A British rock amp. Custom draws inspiration from the guitar heros of the late 1960’s who pushed the envelope of loud music. They had custom amps made to bring their sound to larger and larger audiences at louder and louder volumes. A hallmark of these amps is a tone stack with a wide midrange, giving the Custom a classic crunch like no other. Turn down the Gain control and the Custom gives a jangly clean. Modeled after a vintage HiWatt®, the Custom cab sports two 12 inch speakers that give any amp a focused low end and mid range push. |
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Inspired by the Watkins Dominator®*. A stylish vintage low-watt amp from the UK. The Deviator breaks up early for easy overdrive in both rhythm and lead playing. At lower gain, the Deviator gives a pleasant clean with plenty of chime and high end sparkle. Inspired by a distinctive vintage Watkins® Domintator®, the Deviator is a great amp for rock and roll, rockabilly, country, or other clean and bright tones. The Dominator was the inspiration of the famous 18 Watt circuit, despite only being 17 Watts. The sought-after crunch of the 18 Watt amps is here in the Deviator, combined with the cutting tone of the two vintage 10 inch speakers in the Deviator’s wedge-shaped cabinet. |
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Inspired by the Mesa® Maverick®*. An American high gain amp. The Gambler pumps out distorted tones best suited for metal and hard rock, but cleans up nicely when the Gain knob is turned down for a punchy, twangy clean. Inspired by a Mesa/Boogie® Maverick® Dual Rectifier, the Gambler uses two 12 inch speakers to get its modern scooped tone. This is the signature modern high gain sound. Adding a tube preamp pedal in front of the Maverick creates all the gain you will need for metal and extreme music. |
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Inspired by the Bogner®*. A modern American boutique amp. The Meister is a moderate-to-high gain amp with a focus on versatility. Capable of soaring leads and sparkling cleans, this amp has a wide range of modern tones. Inspired by a Bogner® Shiva, the Meister has two 12 inch speakers that impart a distinctly modern sound to any amp. The Meister works especially well with multiple tube preamp pedals added in front, mirroring the original’s massive preamp stage of cascaded tubes. |
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Inspired by the Silvertone® 1464*. A vintage clean solid state amp. The Nickeltone 64 has a pristine clean tone that sparkles. With the gain all the way up there is a small amount of overdrive that compliments single coil pickups for rhythm and lead sounds. Inspired by the Silvertone® 1464, the Nickeltone 64 shines in all clean applications, from lead to rhythm and even bass guitar! Add some chorus and you have a classic jazz solid state sound. |
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Inspired by the Silvertone® 1484*. An American amp originally made for mail-order catalogs. This vintage budget amp screams with tube overdrive, while still retaining a smooth clean tone when the gain is turned down. Inspired by the sound of the original Silvertone® Twin Twelve 1484 with the two channels jumpered for more overdrive, the Nickeltone 84 has the sought-after fuzz tones that has made the original a secret weapon of recording studios. |
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Inspired by a handmade amp. An exclusive boutique amp. The One-Off sings with smooth overdrive through one amazing 12 inch speaker that gives it an amazingly clear tone through any amount of distortion. With the gain rolled back, the cleans are clear and punchy. As the gain knob turns up, the highs smooth out and overdrive takes over. Throw a boost pedal in front of the amp to show the One-Off in its element: pure overdriven bliss! |
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Inspired by the Peavey® Nashville™ 112. A solid state clean amp for pedal steel guitars. While meant for pedal steel players, the Pedal Steel amp is a great clean amp that makes the character of your guitar the predominant tone. The single 12 inch speaker excels at sparkling high-end clean tones with a pronounced mid-range. Inspired by the Peavey® Nashville,® the Pedal Steel is a great alternative to traditional guitar amps when finding a clean tone. |
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Inspired by the Alamo. An American amp from Texas suited for country, rock and roll, and blues. The San Antone has plenty of bite and grit, with a clean tone that twangs and a responsive overdrive. This Southern amp is all about character! Inspired by the Alamo amps of the 1960s, the San Antone delivers a true vintage vibe through two 10 inch speakers. The cab retains its signature bite even when pushing out raw fuzz tones or loads of effects. Add a tube preamp or overdrive pedal and this amp churns out buzzsaw fuzz tones. |
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Inspired by the Selmer Truvoice. A vintage British clean amp. The Snakeskin has a unique jangle separate from other amps of the 1960s. This amp stays clean through most of the range of the Gain knob, with a great variety of cutting tones. Inspired by a vintage Selmer TruVoice amp, the Snakeskin only gets slightly overdriven even when cranked, the high end tones always cut through with percussive attacks and short sustains, making it great for rock and roll rhythm. |
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Inspired by the Fender® Bassman®. The classic American blues amp. From totally clean to crunchy break up, the Tweed Blues amp is the heart of American music from the 50’s and 60’s. Based on a vintage Fender® Bassman® with four 10 inch speakers, the Tweed Blues cab has the power of four speakers, but the tight low end of smaller speakers, making it extremely versatile. The Bassman was originally a bass amp designed to allow full frequency sounds through without getting muddy. Perfect for a full guitar tone! |
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Inspired by the Fender® Deluxe. A vintage American blues amp. The Tweed Deluxe is a clean amp that overdrives well as the Gain knob gets over halfway. The gritty overdrive tone is perfect for blues and classic rock and roll. Inspired by a vintage Fender® Deluxe, the Tweed Deluxe has one 12 inch speaker that nicely compliments the overdriven tones of the amp. Placing an overdrive in front of the amp delivers a classic rock and roll sound. |
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Inspired by the Fender® Princeton. A vintage American practice amp. The Tweed Prince specializes in natural tube overdrive. With one 8 inch speaker, this amp is all about getting pushed to the limits. Inspired by a vintage Fender® Princeton®, the Tweed Prince is a small amp with few controls. As the Volume control goes up, this amp starts to break up and eventually roar with overdrive. The Tone control tames the brightness or lets through the full force of this little amp. |
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Inspired by the Fender® Twin. A classic American tweed amp. The Tweed Twin has the famous tweed clean sound, and adds a great overdrive as the gain gets turned up. Distinct from British overdriven amps, the Tweed Twin has a smooth overdrive with a wider mid-range perfect for classic rock and blues. Inspired by a vintage Fender® Twin® from the tweed era, the Tweed Twin sports two 12 inch speakers that just enough grit to any sound to cut through a mix. Great with clean tones, the Tweed Twin cab specializes in fuzz tones for a wonderful crunchy sound. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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! |
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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. |
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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. |
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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! |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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©2013 Sonoma Wire Works. All rights reserved. RiffWorks and the RW Logo, RiffWorld, RiffCaster, RiffLink, RiffRumble, InstantDrummer, StudioTrack and the StudioTrack iPad App Logo, the FourTrack iPhone App Logo, GuitarTone and the GuitarTone Logo, GuitarJack and the GuitarJack logo, AudioCopy, AudioPaste, MAPI, DrummerPack, KitPack and Discrete Drums are trademarks of Sonoma Wire Works. DrumCore and KitCore are registered trademarks of Sonoma Wire Works. iPod, iPhone and iPad are trademarks of Apple Inc., registered in the U.S. and other countries. Android is a trademark of Google Inc. ReWire and REX2 are technologies licensed from Propellerhead Software. VST is a trademark of Steinberg Media Technologies GmbH. All other trademarks are property of their respective owners.
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