BLUE BIRD Overdrive / Delay
Rp. 2.600.000
Dynamic overdrive and a delay in one small pedal.
BLUEBIRD OVERDRIVE DELAY (BODD) is a compact, easy to use overdrive delay pedal.
The Bluebird Overdrive Delay combines of two of the most popular effects in one pedal.
The overdrive section is extremely touch sensitive.
Like the best boutique amps, the Bluebird lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar.
The Bluebird can add this level of expressiveness to any clean or slightly overdriven amplifier.
IMPORTANT: For best results you should not use a buffered pedal between your instrument and the Bluebird.
Build the Mad Professor way: small footprint and big tone.
CONTROLS
Volume: This knob sets the overall output level of the pedal.
Distortion: When using medium to low output pickups, and with the distortion set at its lowest level, the Bluebird can be used as a clean equalizer and delay. At higher drive levels, the pedal will produce medium distortion with lower output pickups, and heavier sounds with higher output pickups.
Hint: lower distortion levels allow greater dynamic response.
Tone: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
Delay: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
INTERNAL TRIM POTS
Bass: This is a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4x12 cabinet.
Repeats: This pot adjusts the amount of repeats or feedback.
Delay Time 1 and 2: These allow you to set two independent delay times.
Dynamic overdrive and a delay in one small pedal.
BLUEBIRD OVERDRIVE DELAY (BODD) is a compact, easy to use overdrive delay pedal.
The Bluebird Overdrive Delay combines of two of the most popular effects in one pedal.
The overdrive section is extremely touch sensitive.
Like the best boutique amps, the Bluebird lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar.
The Bluebird can add this level of expressiveness to any clean or slightly overdriven amplifier.
IMPORTANT: For best results you should not use a buffered pedal between your instrument and the Bluebird.
Build the Mad Professor way: small footprint and big tone.
CONTROLS
Volume: This knob sets the overall output level of the pedal.
Distortion: When using medium to low output pickups, and with the distortion set at its lowest level, the Bluebird can be used as a clean equalizer and delay. At higher drive levels, the pedal will produce medium distortion with lower output pickups, and heavier sounds with higher output pickups.
Hint: lower distortion levels allow greater dynamic response.
Tone: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
Delay: This is a boost/cut “shelving” type equalizer that controls the amount of high end, operating somewhere between a bright switch and the treble control on most amplifiers.
INTERNAL TRIM POTS
Bass: This is a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4x12 cabinet.
Repeats: This pot adjusts the amount of repeats or feedback.
Delay Time 1 and 2: These allow you to set two independent delay times.
ROYAL BLUE Overdrive
Rp. 2.200.000
The Royal Blue Overdrive is an extremely touch sensitive overdrive.
It offers wide range of tones from light overdrive into distortion and at lowest Distortion knob setting works as an EQ. It can also be used to create tube amp-like crunchy ‘strike hard for distortion’ effect. There is not much filtering on the overdrive, to provide transparent tone that you can tailor with both the Treble and Bass controls.
Like the best boutique amps, the Royal Blue OD lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar. The Royal Blue can add this level of expressiveness to any clean or slightly overdriven amplifier.
CONTROLS
Volume: sets the overall output level of the pedal.
Distortion: controls distortion, for most dynamic response set where the amount of distortion is controllable with picking force.
Treble: a boost/cut “shelving” type equalizer that controls the amount of high end, operating where the Presence control is on most amplifiers. Treble can be used to add shimmer to even bright amplifiers without interfering with typical treble boost of most amplifiers.
Bass: a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4×12 cabinet. With both Bass and Treble turned up, you can get a scooped heavy tone, turn the knobs down for soft mid-boost tone.
SETTINGS
For Midboost: set Treble and Bass fully ccw.
For Midcut: set Treble and Bass fully cw
The Royal Blue Overdrive is an extremely touch sensitive overdrive.
It offers wide range of tones from light overdrive into distortion and at lowest Distortion knob setting works as an EQ. It can also be used to create tube amp-like crunchy ‘strike hard for distortion’ effect. There is not much filtering on the overdrive, to provide transparent tone that you can tailor with both the Treble and Bass controls.
Like the best boutique amps, the Royal Blue OD lets you determine the amount of breakup by how hard you strike the strings with your pick, and/or by adjusting the volume knob on your guitar. The Royal Blue can add this level of expressiveness to any clean or slightly overdriven amplifier.
CONTROLS
Volume: sets the overall output level of the pedal.
Distortion: controls distortion, for most dynamic response set where the amount of distortion is controllable with picking force.
Treble: a boost/cut “shelving” type equalizer that controls the amount of high end, operating where the Presence control is on most amplifiers. Treble can be used to add shimmer to even bright amplifiers without interfering with typical treble boost of most amplifiers.
Bass: a boost/cut shelving type equalizer that controls the low end, just above resonance of a standard 4×12 cabinet. With both Bass and Treble turned up, you can get a scooped heavy tone, turn the knobs down for soft mid-boost tone.
SETTINGS
For Midboost: set Treble and Bass fully ccw.
For Midcut: set Treble and Bass fully cw
" 1 " Distortion / Reverb
Rp. 2.600.000
“1” is a distortion/reverb pedal designed to provide the sought after “Brown” guitar sound of the late 70’s early 80’s, when played through a clean amplifier.
Like that legendary tone, this pedal produces intense drive while retaining high definition. The pedal also includes a built in reverb circuit to add ambience and depth to your sound.
“1”’s gain ranges from medium to very heavy distortion. The amount can be easily controlled via the volume control of your guitar. (Input impedance is set to facilitate this, and is somewhat negated if a buffer or buffered effect is used ahead of “1”.)
The Brown knob controls the amount and harmonic overtones of the distortion. Getting the exact tonal quality is the key to this legendary sound and “1”’s Brown and Presence controls help it appropriately interface with a wide variety of pickups and amplifiers.
“1”’s built in Reverb circuit with a Level control for setting the ambience. The sound is modeled after the studio reverb found on classic recordings from the 80’s. The decay time is preset so as not to mess the rhythm of your playing. The preset decay time and tone can be modified with trimmers inside the pedal.
“1” is a distortion/reverb pedal designed to provide the sought after “Brown” guitar sound of the late 70’s early 80’s, when played through a clean amplifier.
Like that legendary tone, this pedal produces intense drive while retaining high definition. The pedal also includes a built in reverb circuit to add ambience and depth to your sound.
“1”’s gain ranges from medium to very heavy distortion. The amount can be easily controlled via the volume control of your guitar. (Input impedance is set to facilitate this, and is somewhat negated if a buffer or buffered effect is used ahead of “1”.)
The Brown knob controls the amount and harmonic overtones of the distortion. Getting the exact tonal quality is the key to this legendary sound and “1”’s Brown and Presence controls help it appropriately interface with a wide variety of pickups and amplifiers.
“1”’s built in Reverb circuit with a Level control for setting the ambience. The sound is modeled after the studio reverb found on classic recordings from the 80’s. The decay time is preset so as not to mess the rhythm of your playing. The preset decay time and tone can be modified with trimmers inside the pedal.
SIMBLE Overdrive
Rp. 2.500.000
The Simble overdrive is a transparent and organic sounding pedal with wide dynamic range.
Natural organic tone, un-surpassable touch sensitivity, sweet tube-like compression and built in inspiration. This natural sounding pedal works as a clean boost, ”on the edge” crunch, or a sweet singing overdrive, always retaining the tone of your prized guitar.
The Simble pedal is happy with either single coil pickups or humbuckers and thanks to the pedals wide bandwidth also works great with bass!
Please try the Simble, you’ll be smiling in minutes!
CONTROLS
Sensitivity: Amount of distortion and compression
Level: Output level
Accent: Adjusts the pick attack and brightness before the signal is overdriven
Contour: Brightness of the output
The Simble overdrive is a transparent and organic sounding pedal with wide dynamic range.
Natural organic tone, un-surpassable touch sensitivity, sweet tube-like compression and built in inspiration. This natural sounding pedal works as a clean boost, ”on the edge” crunch, or a sweet singing overdrive, always retaining the tone of your prized guitar.
The Simble pedal is happy with either single coil pickups or humbuckers and thanks to the pedals wide bandwidth also works great with bass!
Please try the Simble, you’ll be smiling in minutes!
CONTROLS
Sensitivity: Amount of distortion and compression
Level: Output level
Accent: Adjusts the pick attack and brightness before the signal is overdriven
Contour: Brightness of the output
SWEET HONEY Overdrive DELUXE
Rp. 2.500.000
Mad Professor Sweet Honey Overdrive Deluxe is a super touch sensitive, medium gain amplifier like overdrive pedal with added controls for more versatile guitar tone.Sweet Honey Overdrive Deluxe (SHOD DLX) is designed to overdrive distorted amplifiers and give dynamically controlled low to medium gain tones with clean amplifiers.
Our unique focus control allows you to adjust the feel and dynamics of the pedal as well as the overall EQ.
Distortion levels are controlled by pick attack. Pick harder for more overdrive and play softer for cleaner tone. the Sweet Honey Overdrive Deluxe provides more versatility than the classic sweet Honey overdrive due to the added functionality of the new controls. Both the SHOD and SHOD DLX are designed to work with all kinds of guitars, amplifiers and pedals.
CONTROLS
VOLUME: Sets the output volume.
DRIVE: Controls the amount of overdrive.
TREBLE: Post distortion, it cuts and/or boosts the treble.
BASS: Pre distortion, it sets how the bass and low mids are distorted.
FOCUS: Controls how easily the circuit distorts as well as adjusting overall eQ. Turning CCW gives less distortion and a mellower effect, turning CW gives a slight treble boost and earlier distortion. A good starting point is 11 o’clock.
Mad Professor Sweet Honey Overdrive Deluxe is a super touch sensitive, medium gain amplifier like overdrive pedal with added controls for more versatile guitar tone.Sweet Honey Overdrive Deluxe (SHOD DLX) is designed to overdrive distorted amplifiers and give dynamically controlled low to medium gain tones with clean amplifiers.
Our unique focus control allows you to adjust the feel and dynamics of the pedal as well as the overall EQ.
Distortion levels are controlled by pick attack. Pick harder for more overdrive and play softer for cleaner tone. the Sweet Honey Overdrive Deluxe provides more versatility than the classic sweet Honey overdrive due to the added functionality of the new controls. Both the SHOD and SHOD DLX are designed to work with all kinds of guitars, amplifiers and pedals.
CONTROLS
VOLUME: Sets the output volume.
DRIVE: Controls the amount of overdrive.
TREBLE: Post distortion, it cuts and/or boosts the treble.
BASS: Pre distortion, it sets how the bass and low mids are distorted.
FOCUS: Controls how easily the circuit distorts as well as adjusting overall eQ. Turning CCW gives less distortion and a mellower effect, turning CW gives a slight treble boost and earlier distortion. A good starting point is 11 o’clock.
LITTLE GREEN WONDER Overdrive
Rp. 2.200.000
BJF design high headroom overdrive with adjustable low/mid EQ balance.
Premium quality classic blues/rock pedal that works very well with complex overdriven amp sound. This pedals is now offered as lower priced pcb-model or hand wired pedal. Both share the same specs and tone.
It's a low compression, high headroom overdrive with high output, and it has a Body knob for adjusting low-mid content and treble.
The LGW was made to be a stackable overdrive that could go anywhere in the pedal chain and the compression normally associated with this type of circuit is reduced same as several distortion mechanisms.
This pedal will work very well with amps and other pedals that have a lot of complexity or compression, a situation that not all pedals work well.
LGW makes a great building block to sound yet it works standalone and especially with humbuckers where normally this type of circuit would not work satisfactory, much due to bass loss and sometimes separated sounds (where transients feed through and a cloud of distortion follows beneath.
Body control gives access to medium midhump at center position and allows treble boost at cw rotation and low mid/treble boost a ccw position and so unit also can provide distortion albeit a smooth type. LGW can be used as an overdrive to already distorting amplifiers or pedals downstream, as well as function as a filter when feed with fuzz pedals that may be rough on some amplifiers and can also be used as light overdrive for just breaking up sounds.
GOLDEN CELLO Overdrive Fuzz / Delay
Rp. 2.600.000
This unique pedal features one of the most sought after guitar tones on the planet, all available in one compact stompbox.
The Golden cello pedal delivers a huge singing overdrive tone, with high quality tape echo type delay. To get this kind of tone anywhere else would cost you thousands of dollars and hours of knob twisting.
Just plug your Golden cello into your clean amplifier, and you’ll experience, mountainous, juicy lead tone at any volume level that only takes up one space on your pedal board. Sonic perfection is now in your hands and at your feet.
CONTROLS
VOLUME: adjusts the final output level of the effect.
TONE: controls mainly the treble, sound can be set from soft to sharp.
DISTORTION: sets the sustain and distortion level, from light to saturated.
DELAY: sets the level of build in delay.Inside the pedal there are trimmers for delay repeat and delay length (two trimmers, that have to be in balance), and trimmer for the volume into the delay part of the pedal.
This unique pedal features one of the most sought after guitar tones on the planet, all available in one compact stompbox.
The Golden cello pedal delivers a huge singing overdrive tone, with high quality tape echo type delay. To get this kind of tone anywhere else would cost you thousands of dollars and hours of knob twisting.
Just plug your Golden cello into your clean amplifier, and you’ll experience, mountainous, juicy lead tone at any volume level that only takes up one space on your pedal board. Sonic perfection is now in your hands and at your feet.
CONTROLS
VOLUME: adjusts the final output level of the effect.
TONE: controls mainly the treble, sound can be set from soft to sharp.
DISTORTION: sets the sustain and distortion level, from light to saturated.
DELAY: sets the level of build in delay.Inside the pedal there are trimmers for delay repeat and delay length (two trimmers, that have to be in balance), and trimmer for the volume into the delay part of the pedal.
FOREST GREEN Compressor/Sustainer
Rp. 2.500.000
Guitar and bass Compressor/Sustainer pedal.
FOREST GREEN COMPRESSOR (FGC) is designed to meet the highest standards of guitar and bass compression.
There is extremely low noise throughout the range and a high overload margin, which allows also a wide dynamic input range at minimum distortion and noise.
FGC is equipped with a special tone control to fine-tune the compressed sound for most transparent tone and effect.
The pedal has a switchable compressor and sustainer mode.
In Sustain mode you can get a very dynamic, touch sensitive tone with a long sustain.
Here the attack is not lost, making the pedal suitable even for blues players and it works great with slide playing.
CONTROLS
Level: In Compressor mode adjusts the overal volume and the FGC can be used even as a booster. In Sustain mode the Level no longer adjusts total output but the level of the sustained part.
Compr.: Sets the amount of compression and sustain. Lower settings give mostly peak limiting, higher settings more compression and less touch sensitive response. At maximum the output will be heavily compressed, while still retaining clarity at almost infinite sustain.
A good starting point for this control is a bit below centre (ten o’clock) with most guitars.
Tone: Tone control on FGC is designed to fine-tune the compressed sound for most transparent tone and effect: Adjust CCW for full range compression, great for bass use. Set at noon most transparent sound and turn CW for slighty brighter tone with a little less bottom.
(on the hand wired FGCl, set at noon for tighter sound with a little less bottom end and turn fully CW to slightly reduce upper treble.)
Compressor/Sustain Switch: Attack and decay times are carefully fine-tuned and internally set for swift attack and slow decay. Sustain/Compression switch set for Sustain the attack is preserved allowing dynamic touch and ease of playing as the FGC amplifies the decay and weaker parts. For standard compression set mode switch to Compressor.
Guitar and bass Compressor/Sustainer pedal.
FOREST GREEN COMPRESSOR (FGC) is designed to meet the highest standards of guitar and bass compression.
There is extremely low noise throughout the range and a high overload margin, which allows also a wide dynamic input range at minimum distortion and noise.
FGC is equipped with a special tone control to fine-tune the compressed sound for most transparent tone and effect.
The pedal has a switchable compressor and sustainer mode.
In Sustain mode you can get a very dynamic, touch sensitive tone with a long sustain.
Here the attack is not lost, making the pedal suitable even for blues players and it works great with slide playing.
CONTROLS
Level: In Compressor mode adjusts the overal volume and the FGC can be used even as a booster. In Sustain mode the Level no longer adjusts total output but the level of the sustained part.
Compr.: Sets the amount of compression and sustain. Lower settings give mostly peak limiting, higher settings more compression and less touch sensitive response. At maximum the output will be heavily compressed, while still retaining clarity at almost infinite sustain.
A good starting point for this control is a bit below centre (ten o’clock) with most guitars.
Tone: Tone control on FGC is designed to fine-tune the compressed sound for most transparent tone and effect: Adjust CCW for full range compression, great for bass use. Set at noon most transparent sound and turn CW for slighty brighter tone with a little less bottom.
(on the hand wired FGCl, set at noon for tighter sound with a little less bottom end and turn fully CW to slightly reduce upper treble.)
Compressor/Sustain Switch: Attack and decay times are carefully fine-tuned and internally set for swift attack and slow decay. Sustain/Compression switch set for Sustain the attack is preserved allowing dynamic touch and ease of playing as the FGC amplifies the decay and weaker parts. For standard compression set mode switch to Compressor.
DEEP BLUE Delay
Rp. 2.500.000
BJF design ambient delay pedal.
This pedals is now offered as lower priced pcb-model or hand wired pedal. Both share the same specs and tone.
Deep Blue Delay (DBD) is a natural sounding digital/analog delay, with analog direct signal path. The DBD has about the same bandwidth as the classic tape echo units, and it can be used in front of an amplifier or in amplifier effects loops.
There are no noise reduction circuits, which keeps decay of echo as natural as possible. The direct signal path is short and made with analog amplifiers with no filtering.
There should be no distortion or tone coloration as long as input level is in range below maximum allowed. The echo signal has a tuned filtering to allow extreme settings without interference.
The delay is specially designed to work well with distorted tone, as this is the most critical application, where delays often fail. You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.
The delay tone has been carefully tuned with lot of attention to the first critical reflection and how the repeats decay.
Deep Blue Delay is kept small (Width x Length x Height :69mm x 111mm x 50mm including jacks and knobs) containing just the basic delay features; Delay Time, Delay Level and Repeat controls. It was designed to work as an ambience delay; like that of a vintage tape echo and the repeat formation was specifically designed to allow easy setting and less critical setting of delay time. With delay times higher than 120ms, the delay time is sometimes set on the beat or on a multiple of the beat. Deep blue handles this by not giving full range repeats, but a tuned response that don’t need to be on the beat to sound good.
Why digital? Isn't Analog better for a solid-state solution? Well, in many ways, the delay medium is less critical and it could be an oil-drum, tape, metal-thread, analog BBD or digital, but the final sound is always set by the limitations of the delay medium and the peripheral circuitry needed to make either work. We chose Digital construction to make it compact, stable, with reasonable delay time and virtually service free, where the limitations of the circuit would be less critical. As an outcome, you can set the peripheral circuitry with desired bandwidth and distortion levels with less consideration on the exact limits of the delay medium, while of course always pushing the limits, as with anything musical.
A similar circuit in analog form would be excessively more expensive to make. For the same performance, it would require three to four of the best BBD chips now only available as vintage parts and the size of the pedal would have to be about three times the current size.
CONTROLS
Level: Sets the level of delayed signal mixed with straight guitar tone, fully CCW there is only straight (un-effected) guitar signal heard and fully CW gives the loudest delay.
Delay: Controls the delay time from 25ms (fully CCW) to 450ms (fully CW)
Repeat: Controls the repeats of the delay signal, fully CCW gives one repeat and at fully CW you get infinite feedback.
BJF design ambient delay pedal.
This pedals is now offered as lower priced pcb-model or hand wired pedal. Both share the same specs and tone.
Deep Blue Delay (DBD) is a natural sounding digital/analog delay, with analog direct signal path. The DBD has about the same bandwidth as the classic tape echo units, and it can be used in front of an amplifier or in amplifier effects loops.
There are no noise reduction circuits, which keeps decay of echo as natural as possible. The direct signal path is short and made with analog amplifiers with no filtering.
There should be no distortion or tone coloration as long as input level is in range below maximum allowed. The echo signal has a tuned filtering to allow extreme settings without interference.
The delay is specially designed to work well with distorted tone, as this is the most critical application, where delays often fail. You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.
The delay tone has been carefully tuned with lot of attention to the first critical reflection and how the repeats decay.
Deep Blue Delay is kept small (Width x Length x Height :69mm x 111mm x 50mm including jacks and knobs) containing just the basic delay features; Delay Time, Delay Level and Repeat controls. It was designed to work as an ambience delay; like that of a vintage tape echo and the repeat formation was specifically designed to allow easy setting and less critical setting of delay time. With delay times higher than 120ms, the delay time is sometimes set on the beat or on a multiple of the beat. Deep blue handles this by not giving full range repeats, but a tuned response that don’t need to be on the beat to sound good.
Why digital? Isn't Analog better for a solid-state solution? Well, in many ways, the delay medium is less critical and it could be an oil-drum, tape, metal-thread, analog BBD or digital, but the final sound is always set by the limitations of the delay medium and the peripheral circuitry needed to make either work. We chose Digital construction to make it compact, stable, with reasonable delay time and virtually service free, where the limitations of the circuit would be less critical. As an outcome, you can set the peripheral circuitry with desired bandwidth and distortion levels with less consideration on the exact limits of the delay medium, while of course always pushing the limits, as with anything musical.
A similar circuit in analog form would be excessively more expensive to make. For the same performance, it would require three to four of the best BBD chips now only available as vintage parts and the size of the pedal would have to be about three times the current size.
CONTROLS
Level: Sets the level of delayed signal mixed with straight guitar tone, fully CCW there is only straight (un-effected) guitar signal heard and fully CW gives the loudest delay.
Delay: Controls the delay time from 25ms (fully CCW) to 450ms (fully CW)
Repeat: Controls the repeats of the delay signal, fully CCW gives one repeat and at fully CW you get infinite feedback.
SILVER SPRING Reverb
Rp. 2.500.000
Big reverb in a small box!
SILVER SPRING REVERB (SSR) is a compact, easy to use digital/analog reverb with a pure analog direct signal path. It creates a natural sounding ambient reverb that will not get in the way of your original signal.
• The Silver Spring Reverb’s bandwidth is in between the dark warmth of an amplifier’s spring reverb and the pristine clarity of a studio reverb.
• There is no noise reduction system, in order to keep the decay as natural as possible.
• The direct signal path is all analog, going straight through analog amplifiers with no filtering.
• With the input set below the maximum there is no signal distortion or coloration
• The Reverb signal path is filtered to produce the Silver Spring Reverb’s natural ambience.
The SSR’s sound is exceptional with a clean signal, but was specifically designed to work equally well with the tougher performance requirements of distorted tone. The SSR can be used before distortion, although it was primarily designed to go after. If you use the SSR before distortion, you may want to use a lower Reverb (Wet/Dry) setting.
Build the Mad Professor way: small footprint and big tone.
CONTROLS
Tine: This sets the decay time of reverb. Turn it clockwise for longer decay. At full counterclockwise position the decay is that of a small room. At full clockwise position the decay resembles the large hall sound of a plate reverb. Around the center setting the medium decay time is optimal for rhythmic chords and single notes.
Tone: This adjusts the bandwidth of the reverb signal. Turning clockwise results in a brighter reverb tone and counter- clockwise darker one. Fully counter- clockwise approximates the response of a typical spring reverb, clockwise a studio reverb.
Reverb: This adds reverb to dry signal. Reverb can be turned fully off if Reverb knob is turned fully CCW, and is loudest at fully clockwise.
Big reverb in a small box!
SILVER SPRING REVERB (SSR) is a compact, easy to use digital/analog reverb with a pure analog direct signal path. It creates a natural sounding ambient reverb that will not get in the way of your original signal.
• The Silver Spring Reverb’s bandwidth is in between the dark warmth of an amplifier’s spring reverb and the pristine clarity of a studio reverb.
• There is no noise reduction system, in order to keep the decay as natural as possible.
• The direct signal path is all analog, going straight through analog amplifiers with no filtering.
• With the input set below the maximum there is no signal distortion or coloration
• The Reverb signal path is filtered to produce the Silver Spring Reverb’s natural ambience.
The SSR’s sound is exceptional with a clean signal, but was specifically designed to work equally well with the tougher performance requirements of distorted tone. The SSR can be used before distortion, although it was primarily designed to go after. If you use the SSR before distortion, you may want to use a lower Reverb (Wet/Dry) setting.
Build the Mad Professor way: small footprint and big tone.
CONTROLS
Tine: This sets the decay time of reverb. Turn it clockwise for longer decay. At full counterclockwise position the decay is that of a small room. At full clockwise position the decay resembles the large hall sound of a plate reverb. Around the center setting the medium decay time is optimal for rhythmic chords and single notes.
Tone: This adjusts the bandwidth of the reverb signal. Turning clockwise results in a brighter reverb tone and counter- clockwise darker one. Fully counter- clockwise approximates the response of a typical spring reverb, clockwise a studio reverb.
Reverb: This adds reverb to dry signal. Reverb can be turned fully off if Reverb knob is turned fully CCW, and is loudest at fully clockwise.
