We’re into the third month of our multiple pedalboard giveaway—the America’s Saddest Pedalboard Contest, which is running through December. If you think you have the jankiest, most ill-equipped pedalboard in America, then all you have to do to enter the contest is take a picture of it and share it on social media with the tags #JIMDUNLOP, #SADBOARD, and #METAL. If your photo gets the most votes, you’ll win a brand new, fully stocked pedalboard. We’re giving away a different pedalboard each month. Head over to the contest page for all the details.

Last month, we gave away the Bass Board. November’s prize is the Modern Metal Board, and it has everything you need to wield copious amounts of gain and downtuned/extended range guitars with precision and finesse. Have a look-see.

MXR^® Ten Band EQ

This pedal lets you adjust 10 different frequencies as well as input and output levels so you can shape and refine all the sonic power generated by your new setup. Noise-reduction circuitry helps keeps all those extra dBs under control, and a second output lets you run two separate signal chains If you’re into that kind of thing.

Echoplex^® Delay

The Echoplex Delay delivers crisp and clear delay tones with external tap tempo functionality. If you want more of a vintage sound—a la the effects of worn-out echo tape—use the Age control to add that classic modulated wow and flutter.

MXR^® Analog Chorus

When it’s time to switch off the dirt and weave some clean, melodic tapestries, you’ll want to step on this pedal to add in some lush, liquid analog chorus tones. It has Low and High controls so you can tweak the tone of the effect as well as its intensity.

MXR^® Tap Tempo

The MXR Tap Tempo Switch comes connected to the aforementioned Echoplex Delay, allowing you to set the tempo of your repeats so you don’t have to bend down and mess around with the Delay control mid-set.

MXR^®EVH^® 5150^™ Overdrive

This pedal delivers a full range of hyper-driven MOSFET saturation with a full complement of controls that gives this pedal exceptional sonic flexibility. The Boost switch bumps up the gain and compression while the Gate control—powered by the Smart Gate^® circuit—tames unwanted noise.

Horizon Devices Precision Drive

Built by MXR for Periphery’s Misha Mansoor, this pedal was designed from the ground up for players who ply their craft with tons of gain and extended ranges. Whether you’re playing a 14-string multi-scale monstrosity or a downtuned six-string, the Precision Drive can give you everything from a touch of harmonic coloration to gnarly full-on distortion. And because of the potential for overdrive pedals to add noise to an already high gain system, this pedal has a built-in noise gate. If all you want to do is transparently cut noise, keep the Gate control at lower settings, but cranking it up will give you that tight and choppy palm-muted sound. The Attack control tames and tightens up the low end and allows the midrange to step forward.

Players with digital rigs, worry not—this pedal plays nicely whether your setup is analog or digital. Oh, and there’s a reason we put this pedal in front of the 5150 Overdrive—the Precision Drive can push that pedal’s MOSFETs amp-style for some very rad results.

John Petrucci Cry Baby^® Wah

This pedal is based on the Cry Baby Rack Wah system, so it has a bevy of tone-tweaking potential. Notice a theme here? Just remove the bottom plate to access Volume, Q, and EQ controls that shape the tone of the wah effect across six different frequency bands.

DVP3 Volume (X)^™ Pedal

The Volume (X) Pedal allows you to change your output level on the fly so you don’t have to stop playing, and it also allows you choose where in your signal chain to adjust volume. Relying on only on your instrument’s volume control for output dynamics can result in a weaker signal being fed to your pedalboard, so this pedal helps you keep the input from your guitar signal nice and even. And it’s built to take be used and abused, so use it to your heart’s content.

Sonic Research Stomp Box Mini Strobe Tuner

The Sonic Research Turbo Tuner ST-300 is a true stroboscope. Its LEDs are driven directly by the analog input signal and electronically strobed, providing instant response and high accuracy.

MXR^® Iso-Brick^™ Power Supply

You need a reliable power supply, so we tucked the lightweight and pedalboard-friendly Iso-Brick Power Supply underneath the pedalboard, where it has ten fully isolated outputs ranging from 9V to 18V, including two variable 6V-15V outputs. The two variable outputs can be used to emulate voltage sag, a drained battery effect sought by many vintage tonechasers.

Temple Audio Design DUO Series Pedalboard, 24″

This pedalboard, courtesy of Temple Audio Design, is stylish and sturdily built, and it uses a unique locking system that keeps your pedals securely in place and makes it easy to move them around when you’re ready to.

We’re giving away one pedalboard each month from September to December. Head over to the America’s Saddest Pedalboard Contest page for details and rules.

We’re into the second month of our multiple pedalboard giveaway—the America’s Saddest Pedalboard Contest, which is running through December. If you think you have the jankiest, most ill-equipped pedalboard in America, then all you have to do to enter the contest is take a picture of it and share it on social media with the tags #JIMDUNLOP, #SADBOARD, and #BASS. If your photo gets the most votes, you’ll win a brand new, fully stocked pedalboard. We’re giving away a different pedalboard each month.

Last month, the Indie Board was up for grabs. October’s prize is the Bass Board. It’s got all the essentials for bass players looking to expand their tonal and textural palettes. Here’s the lowdown.
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MXR^® Bass Preamp

A good DI box is a must-have for bass players. Sound techs like to run bass signals to the FOH, and if you don’t have your own DI box, you’ll have to use theirs. Then the control over your tone is in their hands.

The MXR Bass Preamp allows you to go direct while retaining control over your own sound, featuring separate Input and Output level controls and a 3-band EQ section with sweepable midrange—from 250hz to 1khz—for extensive tonal flexibility. It’s all delivered super clean with high headroom thanks to our own Constant Headroom Technology^™, and you can use the Pre/Post EQ switch to set whether or not your Direct Out signal is affected by the Bass Preamp’s EQ section. This pedal also features a Ground Lift switch in case you encounter ground loop hum.

MXR^® Bass Fuzz Deluxe

The MXR Bass Fuzz Deluxe is a nasty, retro-style dirt box with separate Dry and Wet level controls to keep your low end full and present. It pretty much sounds like you’re running two different amps. Run the Wet signal at low settings to create just the right amount of hair to add some attitude to your tone, or crank it up to create a thunderously monstrous sound.

Iso-Brick^™ Power Supply

The lightweight and pedalboard-friendly Iso-Brick Power Supply has ten fully isolated outputs ranging from 9V to 18V, including two variable 6V-15V outputs. These variable outputs can be used to emulate voltage sag, a drained battery effect sought by many vintage tonechasers. Test this out with the Bass Fuzz Deluxe to see what kind of gnarly, lo-fi tones you can get when you drop its power below 9 volts.

MXR^® Bass Envelope Filter

This is another pedal that any bass player who’s interested in effects should have. Envelope filters are basically boxed up funky groove just waiting to be let out, and the MXR Bass Envelope Filter gives you all the control over the effect you need to open that box. You can even dial in your dry signal independently to you keep your low end totally intact.

MXR^® Bass Octave Deluxe

Every bass player should have an octave pedal. It doesn’t matter what your style is—funk, stoner rock, electro-pop—the doubling and range-extending abilities of octave pedals can be addictive. And the MXR Bass Octave Deluxe is the perfect octave pedal to be addicted to. It has two separate octave down signals—Girth and Growl—each with their own independent level controls. Your direct signal also has its own level control so you can keep the tonal character of your instrument intact, and if you want to give your dry signal a bit more punch in the midrange, you can do so with the Mid+ switch.

MXR^® Bass Compressor

The MXR Bass Compressor is great to have on stage or in the studio. It can help even out your signal, ensuring that nothing gets too loud or too soft by limiting the dynamic range. It has an array of controls that make it a cinch to fine-tune your sound, with CHT^™ Constant Headroom Technology providing a ton of headroom and clear performance, and an LED meter to show when your signal reaches the compression threshold.

Cry Baby^® Bass Mini Wah

We took the circuitry of the Cry Baby 105Q Bass Wah, based on an iconic 1970s envelope filter used by many rock and funk bass players, and stuffed into a a much lighter aluminum housing that takes up half as much pedalboard space.

Like its big brother, the Cry Baby Bass Mini Wah is optimized for bass frequencies. When you step on the rocker—which engages automatically with auto-return switch so you can step in and out of the effect with ease—the wah effect is applied only to the high and midrange frequencies of your signal. This leaves your low end intact so you can hold down the fundamental while taking solos or fills. With controls for Q response and boosting gain, you can dial in just how expressive and in your face the wah sound gets.

Volume (X)^™ Mini Pedal

Putting a volume pedal on your board allows you to change your output level quickly and without having to stop playing. It also allows you choose where in your signal chain to adjust volume—relying on only on your instrument’s volume control for output dynamics can result in a weaker signal being fed to your pedalboard.

The Volume (X) Mini Pedal is a great pedalboard-friendly option—it’s durable and solidly built with a lightweight aluminum chassis, aggressive non-slip tread, and our patented Low Friction Band-Drive for a smooth range of motion and consistent, reliable performance. For maximum comfort and precision, the DVP4’s rocker tension is fully adjustable. This pedal can also be used for expression purposes if you’re so inclined.

Sonic Research Stomp Box Strobe Tuner

The Sonic Research Turbo Tuner ST-300 is a true stroboscope. Its LEDs are driven directly by the analog input signal and electronically strobed, providing instant response and high accuracy.

StageTrix Pedalbôrd Model F Medium Pedalboard

All of the above comes wired up and attached to the PedalBôrd^™ Model F from StageTrix. Black with aluminum trim, it’s light and sturdy and comes lined with StageTrix Super Loop, a super low-profile loop fastener. Each pedal is attached to the board with a StageTrix Pedal Fastener, and the Iso-Brick Power Supply is attached with a Pedal Riser.

Enter Now.

We’re giving away one pedalboard each month from September to December. Head over to the America’s Saddest Pedalboard Contest page for details and rules.

Like long hair and a bad attitude, Tortex Picks are part of the fabric of rock ’n’ roll. Musicians worldwide have come to rely on their snappy attack, textured surface, and superior durability, and the turtle logo is an instantly recognizable icon to just about anyone who plays guitar. But Tortex Picks wouldn’t exist without the principle and persistence of the man who created them.

In the 1960s, Scottish immigrant Jim Dunlop brought his family to the United States from Canada and settled in the San Francisco Bay Area. He worked as a machinist by day, but during off-hours, he pursued his true calling. Inspired by his love for playing guitar—he’s been known been to strap on a Les Paul and belt out a mean version of “Kansas City”—Jim was determined to use his machinist know-how to create guitar accessories that make playing music more enjoyable. He had a knack for finding the little details that kept good products from being great, the snags that guitar players just put up with because there wasn’t anything else on the market. Jim wanted to improve on those details.

With some initial success selling his own handmade capos, Jim decided to take on the pick, one of the guitar player’s most essential tools. He rewrote the book on pick-making with his Nylon Pick line, giving players more options and more confidence when choosing their picks. Up to that point, players pretty much had three options when choosing a gauge: Light, Medium, or Heavy. What exactly those words even meant depended on the company making the picks.

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Never a fan of limitations, Jim created six gauges instead of three, and he labeled them by thickness, from 38mm to 1mm. Each gauge was a different shade of gray so that they were easy to tell apart. This gave players twice as many gauges to choose from, along with the peace of mind about what they were getting, no guesswork required. Jim was making a promise to guitar players: when you buy a pack of Dunlop Picks, you’re getting what you need as a musician.

At this point, Jim started to think about tortoiseshell, the holy grail of all pick materials. It had been outlawed in the ’70s, and no pick-maker had come up with a suitable replacement. Jim dared to create one himself. Experimenting with more modern materials, he chose to work with Delrin and then spent more than a year coming up with a way to draw out its full potential.

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As he formulated his mojo-enhancing process, he sent prototypes to professional musicians on the road who could provide real-world feedback. One version didn’t have enough grip. The next version, too much grip. Another version, not enough bite to its attack, and so on. Jim reworked his process each time, and in the end, his project became less about mimicking tortoiseshell and more about creating a guitar pick that was great in its own right, one that any player would love to use.

Jim named his new creation Tortex Picks. Two things set these picks apart from all others, and they’re both a direct result of Jim’s carefully honed treatment process. The first thing is an aggressive, crunchy attack thanks to the unique shape of its edge. The second thing is the grip-enhancing matte surface. It’s a grip in function but not in form, with just enough texture to keep the pick in your hand while leaving the surface flat and unobtrusive.

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Tortex Picks also feature a fully color-coded gauge system with a bright and timeless palette that has become an industry standard. This palette has become a visual shorthand for guitar players. All you have to do is go into any music store and ask for green picks—chances are, you’ll be shown a pack of Tortex .88mm Picks.

With these qualities and the natural durability, memory, and snappy flexibility of Delrin, Tortex Picks appealed to strummers, shredders, and bass players alike. First released in 1981, they soon matched the popularity of our Nylon Picks, and the world’s top musicians adopted Tortex Picks at a pace faster than James Hetfield’s “Battery” riff from Master of Puppets. By the end of the ’90s, Tortex Picks had become our most beloved line of picks.

Today, Tortex Picks come in 11 different shapes and a ton of different gauges. There’s a Tortex Pick to complement the playing style of just about every player. It’s pretty reflective of what we do as a company, and what Jim Dunlop set out to do with guitar accessories in the first place. We want to give players the reliable options they need for a better playing experience.

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September marks the launch of our first ever America’s Saddest Pedalboard Contest. If you think you have the jankiest, most ill-equipped pedalboard in America, then all you have to do to enter the contest is take a picture of it and share it on social media with the tags #JIMDUNLOP and #SADBOARD. If your photo gets the most votes, you’ll win a brand new, fully stocked pedalboard.

This month’s prize is what we call the Indie Board. It’s all about tried-and-true minimalism—classic sounds that are easy to set and forget. Check out what’s up for grabs.

MXR^® Reverb

While its capabilities go deep, the MXR^® Reverb works perfectly as a simple three-knob stompbox that will drench your notes with lush, atmospheric reverberation. Simply push the Tone control to select one of six distinct reverb styles, dial in your preferred knob settings, and start playing.

Echoplex^® Delay

The Echoplex^® Delay delivers the warm tape echo warble favored by many indie and alt rock musicians. With an Age control that lets you mimic the effects of worn-out tape, this pedal allows you to set just how fluttery your repeats are. Sure beats having to invest in an expensive, temperamental vintage unit and the rare tape cartridges it requires.

MXR^® Micro Amp

The Micro Amp is the perfect embodiment of indie and alternative rock’s no-frills, less-is-more ethos. With just a single knob, it can sweeten up the tone of your instrument as well as slam the front of your tube amp into rich overdrive territory.

Way Huge^® Russian Pickle^™ Fuzz

The Russian Pickle^™ Fuzz delivers quintessential indie rock fuzz, from big hairy walls of sound to thick, chewy riffage. Turn up the Volume control, use the Tone control to shape the fuzz how you want it, and then use the Distortion control to ramp up the intensity.

Way Huge^® Green Rhino^™ Overdrive

The Green Rhino^™ Overdrive provides the fiery, jangly midrange favored by indie and alt rockers. Like the MXR Reverb, this pedal has options if you need them, but it does everything you need as a straightforward Volume, Tone, Drive OD. You can even flip the Classic switch to disable the other controls.

MXR^® Tap Tempo

The MXR^® Tap Tempo Switch comes connected to the aforementioned Echoplex Delay, allowing you to set the tempo of your repeats so you don’t have to bend down and mess around with the Delay control mid-set.

MXR^® Phase 90

The MXR^® Phase 90 is the quintessential phaser, period. Its one-knob simplicity means less time fiddling and tweaking, making this the go-to phaser for indie and alt rock players. With the twist of the Rate knob, you can take the Phase 90’s warm modulation from subtle, spatial shimmer to all-out high velocity swooshing.

Sonic Research Stomp Box Strobe Tuner

The Sonic Research Turbo Tuner ST-300 is a true stroboscope. Its LEDs are driven directly by the analog input signal and electronically strobed, providing instant response and high accuracy.

MXR^® Iso-Brick^™ Power Supply

Finally, you need a reliable power supply. We tucked the lightweight and pedalboard-friendly Iso-Brick^™ Power Supply underneath the West Coast board, where it has ten fully isolated outputs ranging from 9V to 18V, including two variable 6V-15V outputs. The two variable outputs can be used to emulate voltage sag, a drained battery effect sought by many vintage tonechasers. Test this out with your dirt pedals to see what kind of gnarly, lo-fi tones you can get when you drop their power below 9 volts.

West Coast Pedalboard, Angled Series

All of the above comes mounted on the sharp looking, finely made Lacquered Tweed Standard Angled Series with matching case from West Coast Pedalboard.

Enter Now.

We’re giving away one pedalboard each month from September to December. Head over to the America’s Saddest Pedalboard Contest page for details and rules.

In 1967, the Jimi Hendrix Experience made its first major American appearance at the legendary Monterey Pop Festival. Jimi Hendrix demonstrated his almost supernatural mastery of the electric guitar, punctuating the performance by setting his guitar on fire, swinging it wildly around and smashing it on the stage floor. Hendrix had issued a manifesto in music form, ushering in the modern age of the electric guitarist.

His creative use of the tools at his disposal set a precedent for tone crafting and sonic texturing that countless numbers of players continue to pursue today. Hendrix was able to vary his tones in seemingly endless ways that fail to sound dated decades later. With equal parts sonic braggadocio and understated elegance, Hendrix used his hands, his instrument, his effects, and most importantly his ears to concoct a brilliant synergy of sound and song rarely, if ever, equaled.

To celebrate the 50th anniversary of Hendrix’s Monterey performance, we’ve created a special edition run of his favorite effects featuring iconic imagery from legendary rock ‘n’ roll photographer Gered Mankowitz. Below we take a look at how Hendrix used those effects to change the face of music forever.

Fuzz Face Distortion & the Gypsy Fuzz

With a Fuzz Face^® Distortion, Hendrix could elicit an endless variety of tones by using different pickup combinations, manipulating his guitar’s volume control, and picking at different areas of a string. This unruly stompbox not only gave him a full-on primal howl with its burly, fat-sounding fuzz tones—it afforded him remarkably detailed clean textures as well.

The Are You Experienced album remains a shining example of Hendrix’s ingenious use of the effect. The song “Manic Depression,” for example, has Hendrix veer in and out of grainy yet-almost-twangy tones during the verses only to go to full-on meltdown during the solo with howling sustain and thick-as-a-brick midrange. By backing down his guitar’s volume control, Hendrix used the exaggerated treble bite and hyper-sensitive attack the Fuzz Face Distortion offers to enhance clean tones and make them really speak. Another example of this sonic yin-yang is, among others, “Third Stone from the Sun,” as it features some amazingly jangly chordal work as well as the insane sonic equivalent of WWIII, all achieved with help from the Fuzz Face Distortion.

Over the course of ’69 & ’70, Jimi Hendrix played several famous shows using a particular Fuzz Face Distortion, red with white knobs, that sounded completely different from the others in his arsenal. Whereas standard Fuzz Face Distortions tend to sound smooth and girthy—to varying degrees, depending on the transistor, of course—this mysterious pedal was snarling and aggressive in character.

The song “Machine Gun” from Band of Gypsys and the rendition of “The Star-Spangled Banner” from Woodstock demonstrate the uniquely biting tones of this particular Fuzz Face Distortion. In both examples, Hendrix combined the fuzz effect with his Uni-Vibe Chorus/Vibrato to imbue his notes with an ethereal chainsaw quality.

That mysterious prototype has been lost to history, but our engineers pored tirelessly over all of the different customized circuit designs Jimi used over the years. They narrowed it down to a version of the Octavio® circuit that didn’t have the octave up signal. After making a few tweaks, they nailed the elusive sound heard on the aforementioned live recordings. For this series, we have dubbed it the Gypsy^™ Fuzz.

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Cry Baby Wah

Released in August of ’67, “Burning of the Midnight Lamp” is the first recorded example of Hendrix using a Cry Baby^® Wah. From then on, Hendrix used the effect often. “Up From the Skies” from Axis: Bold as Love shows Jimi’s jazziest and most subtle use of the wah wah, adding quick, throaty sweeps to the tune’s hip chord voicings.

For the most part, Hendrix’s wah technique was extremely bold. Whether it was for propulsive rhythmic accents, as on the stinky funk of “Little Miss Lover,” or as a constant force on tracks such as “Still Raining, Still Dreaming” or “Voodoo Chile (Slight Return),” Hendrix managed to use the wah wah in cavalier, over-the-top ways without ever wearing it out.

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Uni-Vibe Chorus/Vibrato

With the release of Band of Gypsys in 1970, Hendrix managed to elevate another effect to hallowed status—the Uni-Vibe^® Chorus/Vibrato. With its thick, smoky swirl, this effect’s complex “phasiness” throbs and undulates throughout the entire live album. Although Hendrix used the Uni-Vibe Chorus/Vibrato on a handful of studio recordings late in his career, the track “Machine Gun” from Band of Gypsys stands as his ultimate statement with the effect. From the tune’s outset, Hendrix’s use of space enhances the spookiness of the Uni-Vibe Chorus/Vibrato’s hazy modulation. As the tune ramps up, Hendrix ups the intensity and keeps it there, starting his solo with a single sustained note that tears right through your soul.

Hendrix’s legendary rendition of “The Star Spangled Banner” at Woodstock stands as another iconic example of the Uni-Vibe Chorus/Vibrato in action. As previously mentioned, he combined the swirly, chewy goodness of the Uni-Vibe Chorus/Vibrato with the snarling fuzz of his prototype Fuzz Face Distortion, sending millions into a psychedelic trance that some have yet to return from.

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Octavio Fuzz

Hendrix used the Octavio^® Fuzz for some of his prettiest passages as well as for some of his gnarliest. The song “One Rainy Wish” from Axis: Bold as Love definitely falls into the former category as Hendrix uses the Octavio to add a dreamy otherworldliness that enhances the tune’s sweetness.

However, “Who Knows” and “We Gotta Live Together” from Band of Gypsys find Hendrix eliciting barks, belches, and skronks as he unleashes a veritable clinic on using the Octavio Fuzz while playing double-stop 4ths and 5ths—he even throws in some wah wah for good measure. Listen to the end riff of “We Gotta Live Together” for even more stony low note howl.

The most famous Octavio Fuzz track, however, is undoubtedly “Purple Haze.” You can hear how Hendrix uses his pickup and volume knob settings as well as his picking attack to vary between different flavors of effect on different parts of the tune.

Jimi Hendrix was a master composer, interplanetary blues man, and sonic visionary. Without his assertive and groundbreaking creativity, the art of playing the electric guitar would look very different than it does today.

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America’s Saddest Pedalboard November: Modern Metal Board

CATEGORIES

MOST RECENT

ARCHIVE

MXR® Ten Band EQ

Echoplex® Delay

MXR® Analog Chorus

MXR® Tap Tempo

MXR® EVH® 5150™ Overdrive

Horizon Devices Precision Drive

John Petrucci Cry Baby® Wah

DVP3 Volume (X)™ Pedal

Sonic Research Stomp Box Mini Strobe Tuner

MXR® Iso-Brick™ Power Supply

Temple Audio Design DUO Series Pedalboard, 24″

America’s Saddest Pedalboard October: Bass Board

CATEGORIES

MOST RECENT

ARCHIVE

MXR® Bass Preamp

MXR® Bass Fuzz Deluxe

Iso-Brick™ Power Supply

MXR® Bass Envelope Filter

MXR® Bass Octave Deluxe

MXR® Bass Compressor

Cry Baby® Bass Mini Wah

Volume (X)™ Mini Pedal

Sonic Research Stomp Box Strobe Tuner

StageTrix Pedalbôrd Model F Medium Pedalboard

Enter Now.

Tortex® Begins

CATEGORIES

MOST RECENT

ARCHIVE

America’s Saddest Pedalboard:The Indie Board

CATEGORIES

MOST RECENT

ARCHIVE

MXR® Reverb

Echoplex® Delay

MXR® Micro Amp

Way Huge® Russian Pickle™ Fuzz

Way Huge® Green Rhino™ Overdrive

MXR® Tap Tempo

MXR® Phase 90

Sonic Research Stomp Box Strobe Tuner

MXR® Iso-Brick™ Power Supply

West Coast Pedalboard, Angled Series

Enter Now.

The Sonic Synergy of Jimi Hendrix

His FX and How He Used Them

CATEGORIES

MOST RECENT

ARCHIVE

Fuzz Face Distortion & the Gypsy Fuzz

Cry Baby Wah

Uni-Vibe Chorus/Vibrato

Octavio Fuzz

MXR^® Ten Band EQ

Echoplex^® Delay

MXR^® Analog Chorus

MXR^® Tap Tempo

MXR^®EVH^® 5150^™ Overdrive

John Petrucci Cry Baby^® Wah

DVP3 Volume (X)^™ Pedal

MXR^® Iso-Brick^™ Power Supply

MXR^® Bass Preamp

MXR^® Bass Fuzz Deluxe

Iso-Brick^™ Power Supply

MXR^® Bass Envelope Filter

MXR^® Bass Octave Deluxe

MXR^® Bass Compressor

Cry Baby^® Bass Mini Wah

Volume (X)^™ Mini Pedal

Tortex^® Begins

America’s Saddest Pedalboard:
The Indie Board

MXR^® Reverb

Echoplex^® Delay

MXR^® Micro Amp

Way Huge^® Russian Pickle^™ Fuzz

Way Huge^® Green Rhino^™ Overdrive

MXR^® Tap Tempo

MXR^® Phase 90

MXR^® Iso-Brick^™ Power Supply