500 SERIES MULTI-PURPOSE TONE MODULE One of the newer members of the Empirical Labs family is the DocDerr, a 500 series multi-purpose tone enhancement module that houses six different sections of digitally controlled analog processing. With over two years of meticulous development and testing behind it, the DocDerr provides an unprecedented combination of power and musicality in a compact, easy to use format. Empirical Labs' first compressor in the API 500 format. An extremely low-noise preamp capable of working with line level or instrument level signals, is followed by four sections of EQ combining a two position high pass filter with three parametric bands, each with its own set of carefully tuned frequency presets. An internal jumper can turn the DocDerr into an unparralled instrument preamp with 16dB of gain, ideal for acoustic guitar, bass, synths, exotic plucked instruments, etc. The versatile EQ is followed by a unique dynamics section which offers renowned Empirical Labs compression at an unprecedented price, and an extremely musical tape emulation circuit that softens and tames high frequencies and transient spikes. We believe it s the best single knob knee compression available in this format. One of the pivotal features of the DocDerr is the Mix knob which allows the user to blend the uncompressed EQ s signal with the compressed and saturated signal. This parallel compression technique, used by top recording and mixing engineers for many years unlocks a whole world of sonic possibilities. Like all ELI 500 series modules, the EL-Rx is available with either horizontal or vertically oriented front panel configurations, and is Linkable for using our famous compression on stereo sources. The DocDerr is ideal for tracking, for fine-tuning tracks during mixing, or as a killer solution for the gigging acoustic musician in search of studio quality tone control. It is indeed a Tone Doctor err DocDerr. RACK EL500 As far as value, it s hard to beat 500 Series compatible modules. Their smaller physical size let you get a lot of performance out of a smaller space, they tend to cost less than their larger counterparts, and the best part you can customize your own combinations of them. When ELI started making our own 500 series products, we looked at the power supplies on the market and couldn t help but notice a need for a better single height dual module rack unit. On other single height rack units, the modules protrude from the front panel, and don t look sturdy or attractive. Power supplies were often noisy, frequently reducing the performance of any module mounted in them. Also, only XLR ins and outs were provided to the user, limiting the device s applications. The Empirical Labs EL500 rack eliminates these obstacles. At the heart of the unit is a super quiet power supply - over 30 dB quieter than some supplies we ve seen - that will ensure optimal performance from any compatible device. All 500 series modules will flush mount cleanly in the EL500, providing a much more professional look and feel. The EL500 offers both XLR and phone rear panel inputs and outputs to allow it to interface perfectly with any system. In addition, a ¼ instrument preamp/direct box input is provided on the front panel, which will automatically switch the left 500 module s input to this front phone jack once something is plugged into it a feature we re sure will prove to be extremely useful. In fact, it has become the first call bass DI for many engineers. Switches to link compressors and engage a 48V phantom supply are also provided. Whether you re already invested in 500 series modules or they re something you re thinking about adding to your arsenal, the EL500 rack will make any 500 series compatible module perform ideally and interface effortlessly into just about any audio application.

New Features at a glance A new ratio Eleven , which emulates a favorite classic compressor setting. New Two Color Front Panel Improved Logic Separate TRACKING LED, more intuitive display. Backwards stepping when a front panel button is held. New extended stereo link functions. More choices of how to lock compressors. Cooler running Logic Circuitry, resulting in an overall cooler operating temperature. Improved overall noise floor, due to lower logic power consumption. THE FAT GOES TO ELEVEN ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower 1176 attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc. The ELEVEN ratio took several months of experimentation, and required a rather radical attack mod to get close. It was one of those projects that Dave Derr, the designer, thought would only take a few days, but upon initial research and listening tests, subtleties emerged which required starting over several times. I got in one of these design loops, where you would get one thing right, then change another parameter or component, and find that it changed the first thing you thought you had right. It was actually a long frustrating series of changes, that slowly spiraled towards the desired result. Any kind of math calculations or scaling seemed useless. In addition, while testing 1176 s, I discovered issues that I m quite sure were not intended by the original designers, and probably things of which they were not even aware. But using modern digital oscilloscopes and analyzers, along with digital workstations, and our good old ears, we could see artifacts that the original designers couldn t. Heck, they may have even tried to fix the little imperfections that gave the 1176 its unique character, had they the tools to see them. Thank gosh they didn t, right Anyway, the design loop was frustrating, but like anything that takes you to unexpected places, hopefully you come out a little bit wiser, and with a great product. I hope our customers find the new ELEVEN ratio fun to use, and discover it can add some more magic to your music. NOTE: ALL existing older Fatso Jr s can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratio already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry. NEW LOGIC AND INTERFACE OPERATION The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analog circuitry to benefit from a cooler running product. The new FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together, and allows either channels buttons to control the settings. Much more foolproof. There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used, and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN. FATSO S FOUR TYPES OF PROCESSING Harmonic Generation and Soft Clipper (Distortion Generation) - this class A circuit gently rounds the peaks like saturated tubes or tape. High Frequency Saturation (Warmth) - a one-of-a-kind dynamic low pass filter which softens high frequencies when they pile up on a source. Transformer and Tape Head Emulation - a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterize them, as well as analog tape.. Classic Knee Compression - your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression smooth and sweet, but in your face!

As with ELI s other signal processors, the Lil FrEQ Equalizer takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class. THE EQ SECTIONS There are eight sections of processing what other EQ offers that Even better - in addition to a master bypass, each of the Lil FrEQ s sections features its own dedicated bypass switch, letting you instantly A/B the effect of each section as you adjust and fine-tune them. HIGH PASS - The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. HIGH and LOW SHELVING - These two knobs function similarly to the familiar bass and treble tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies. PARAMETRIC EQ - The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls. It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels. Try finding those specs anywhere else! DS (DYNAMIC EQ) - The DS section provides the highest performance, easiest to use, and possibly most natural sounding De-esser ever built. This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content. It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere. It has been used on many acclaimed albums and major live performances all over the world, becoming the go to EQ for key tracks like lead vocals, snares, and bass. There are now dozens of hit record vocals that were processed thru the Lil FrEQ. We ve packed an awful lot of power and flexibility into the Lil FrEQ. We know you will love it! TRAK PAK There are engineers who enjoy the flexibility of being able to EQ audio signals when they re tracking. For them, we offer the Trak Pak a combination of our Mike-E and Lil FrEQ processors set up for seamless integration. With a killer mic pre, famed ELI compression, tape saturation and eight individually defeatable EQ sections, we feel it s simply the most powerful and flexible channel strip solution available. Check out the Mike-E which comes in the Trak Pak.

Like our single reeds, Légère bassoon reeds have all the depth and warmth that elite players demand. Because they are made from our specially prepared synthetic material, the deliver all the advantages of a traditional Légère reed: consistency, durability and an instant response. Materials Légère reeds are made from polypropylene, which is approved by the FDA for use in direct food contact applications, so our reeds are completely safe to use. For more information, see our Materials page. Process Légère bassoon reeds are cut from our own unique polymer on 3-axis, computer controlled precision cutting machines. We can also measure our reeds with extreme precision using computer controlled equipment, and this allows us to maintain very tight quality control. The reeds are cut in halves using our own customized profiles which are based on a mathematical description of a reed profile rather than a model or prototype. The halves are then bonded together again using a digitally controlled system. The result is a reed which is perfectly balanced in both blades, and has just the right combination of tip thickness, heart, and flexibility. Because the process is entirely digital, we can design new reed profiles very easily. Instructions for Playing the Légère Synthetic Bassoon Reed 1. Basically the reed is what it is! Currently, we are producing reeds with a tip width of 16 mm in soft and medium strengths. Do not try to work the blades with your knife. You will only dull your knife. The polymer is about half the thickness of cane, is very brittle, and has its own grain. The only adjustment possible is to the aperture. You may close the aperture by gently squeezing the blades together about 15 mm from the tip edge. You may also open the aperture slightly by gently squeezing on the sides with your fingers about 15 mm from the tip edge. Do NOT use strong force or pliers because the reed will crack. 2. The sides have been sealed from the butt to the tip edge and it is important not to break that seal. 3. If you wish to make the reed harder, you will need to OPEN the aperture. Place the reed in hot water (approximately 90 Centigrade/ 194 Fahrenheit ) for 30 seconds. Remove with tweezers, insert a plaque and place in cold water for a minute. Be careful not to jam the plaque in so as to unseal the sides. You can also tie a string onto the reed to make it easy to remove from the hot water. If you heat the water in the microwave above the boiling point it can flash boil when the reed is inserted. This phenomenon is called super heating. To avoid this, stir the water gently with a fork before inserting the reed. WARNING: opening the aperture will allow more air but may also cause the 1 finger e to fall. (See #4) 4. If the 1 finger e falls, you may close the aperture slightly. If you need to have more stability, you may also clip the tip back as you would on cane reeds. 5. If you wish to make the reed softer, you will need to CLOSE the aperture. Place the reed in hot water (approximately 90 Centigrade/ 194 Fahrenheit ) for 30 seconds. Remove the reed with tweezers and immediately close the tip edge by squeezing the blades with your thumb and fore finger. You may also use a clamp but clamps tend to close the aperture too much necessitating the partial insertion of a metal plaque to re-open the aperture slightly while the reed is still warm. You can also tie a string onto the reed to make it easy to remove from the hot water. If you heat the water in the microwave above the boiling point it can flash boil when the reed is inserted. This phenomenon is called super heating. To avoid this, stir the water gently with a fork before inserting the reed. 6. If you have a thick walled bocal and the reed will not fit, you may ream the reed the way you would ream a cane reed. However, be careful to remove the debris from inside the tube with a rat-tail file. 7. After a period of playing (usually around 15 to 20 hours), you may notice an accumulation of debris on the inside of the blades of the reed often accompanied by a slight discoloration. This debris will actually dampen the vibrations of the reed, making it a bit stuffier, and therefore should be removed without breaking the seal on the sides. (See Caring for your reed below.) Caring For Your Reed Légère synthetic bassoon reeds are rugged and should last for many hours of playing. However, the tip edges are fragile and the reed can split or break if one tries to manipulate the aperture by squeezing the tube as one would a cane reed. (See Instructions for Playing the Légère Synthetic Bassoon Reed above) One of the best features of a Légère reed is that it does not need to be moistened prior to playing, and it is not subject to weather and humidity differences. It will warm up over the first few minutes, and should then be stable for an extended period. The reeds should be cleaned periodically with water and a mild detergent. Germicides such as Sterisol can be used to clean the reeds, but you should not assume that such products will sterilize them. You can also pull a soft pipe cleaner from the butt through the aperture to remove debris. Be careful, however, NOT to break the seal on the sides of the reed. We advise against sharing reeds or using reeds that have been tested or played by others unless the reeds have been sanitized. With proper care and maintenance, your Légère reed should provide you with many hours of playing pleasure. Many players report that our reeds can last for months.

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and musical manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a limiter or compressor by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This warmth or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften harsh sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and musical.The current digital technology is often referred to as cold and brittle among other terms, although we prefer the term unforgiving to describe the negative side of the linearity. The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors and limiters) and deliver a classic knee sound all its own.Specifications * Freq. response is 2 Hz to 160 kHz in clean audio mode ( 0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). * Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. * Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. * DC coupled output - High quality input caps. * Input impedance is 20K Ohms, Output impedance is < 75 ohms * Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio. * Metal Chassis - single height 1.75 high, 10 deep, 19 wide. * Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5 x 18.5 x 3 1/4. Stereo Pair box dimensions 22.5 x 18.5 x 6 1/4

The Distressor is an automatic gain (or volume) control device (AGC in engineering terms) designed for pro audio (music) applications. Basically, it electronically controls the volume of just about any source in a very pleasing, and musical manner - adding fullness, intelligibility, and especially in the Distressor's case - excitement. This type of device is often called a limiter or compressor by audio industry people. Its most probable uses will be in recording studios, live sound situations, movie sound production, and radio broadcast production. Unlike most analog compressor/limiters the Distressor is a digitally controlled audio device and actually incorporates several products into one by utilizing digital controls to switch totally different circuits in and out. Years of beta testing and redesign went into the Distressor as will be the case with all Empirical Labs products.Besides offering a wide range of control and unique features, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This warmth or vintage sound has become an important issue in the last 15 years, as the super clear and linear digital technology does very little (or nothing) to soften harsh sounds nor emphasize the bass frequencies in music sources. Older analog tape, vinyl records and tube equipment on the other hand, could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people have now realized that this coloring can be extremely pleasant and musical.The current digital technology is often referred to as cold and brittle among other terms, although we prefer the term unforgiving to describe the negative side of the linearity. The Distressor offers several modes that color the signal, even without compression (or gain control). These extended modes were designed to allow emulation of some very old and some very expensive vintage gain control units (compressors and limiters) and deliver a classic knee sound all its own.Specifications * Freq. response is 2 Hz to 160 kHz in clean audio mode ( 0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3). * Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode. * Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel. * DC coupled output - High quality input caps. * Input impedance is 20K Ohms, Output impedance is < 75 ohms * Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio. * Metal Chassis - single height 1.75 high, 10 deep, 19 wide. * Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5 x 18.5 x 3 1/4. Stereo Pair box dimensions 22.5 x 18.5 x 6 1/4

In April of 1965, a new device changed rock \'n\' roll forever. From the back workbench of Macari\'s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create. The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange Onomatopoeia version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn\'t always do what you want it to do. I had to ask: could we replicate this pedal sonically Could we capture what it\'s all about, but in a way that is more consistent, dependable, and easy to manufacture Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors. The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect, turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a Mode button that lets you access a never-before-heard JHS Mode. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about. If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.

Effect Pedal- Delay with pitch and frequency shifter- Digital operation- 1600 ms stereo delay time in three ranges- 3200 ms forward delay available via web-based editor- Micro pitch shifting and detuning- Tuned pitch shifting- +/- 12 semitones- Phase and frequency shifting- Repeats can be shifted once or continuously- Reverse delay- 7 Modulation waveforms- Envelope and reverse envelope- Left/right control of most parameters for stereo delay- Parallel, serial or ping pong structure- Tone control- Soft touch bypass footswitch - selectable as momentary, latching or mute output- Shift footswitch - selectable as Momentary, Latching or Tap Tempo- Additional parameters controllable via MIDI (USB or TRS)- MIDI clock synchronisation- Presets (4 via pedal, 127 via MIDI)- Web-based editor provides access to presets and "hidden" parameters- Analogue buffered bypass- Controls for Shift, FDBK, Delay, Blend, Rate and Depth- Switch for preset, wave- Status LEDs- Input: 6.3 mm stereo jack (TRS)- Output: 6.3 mm stereo jack (TRS)- Input for expression pedal / remote switch / remote tap / MIDI connection (freely assignable): 6.3 mm stereo jack (TRS)- USB input- Mains adapter connection: 2.1 x 5.5 mm barrel connector, negative polarity inside- Power supply via optional 9V DC mains adapter- Power consumption: 250 mA- Metal housing- Dimensions (L x W x H): 120.6 x 77.5 x 63.5 mm- Designed and assembled in the USA

In the late 1960's, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world. Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color. The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that's what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11. The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The Tone button engages a mid cut that flattens out the Supreme's attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The Mode button activates our very own JHS Mode setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost. If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.

The UBK Fatso has the gorgeous tape-like Saturation and Harmonic Distortion of the original Fatso, as well as the same one-of-a-kind Warmth limiter for rounding and fattening spiky digital transients, topped off with a switchable Transformer for additional harmonics and overall thickening. Add in a separate Compressor section with 7 custom curves meticulously tuned by Gregory Scott, aka 'ubk', and the result is a dynamics shaping tool like no other. Designed to give the operator the most unflinchingly musical compression regardless of the sound being processed or the amount of compression being applied, it will never pump or fold. The UBK Fatso makes easy work of the most difficult and mysterious process in sound engineering: dynamics control and transient shaping. Vintage limiting, smooth opto leveling, transparent gain reduction, aggressive modern squeeze... whatever your vision, the UBK Fatso not only makes it possible, it makes it easy. 7 unique compressors - 4 name presets plus 3 hidden gems , produce a remarkable range of flavor, attitude, and grab, all rolled into a one-knob interface that makes it impossible to screw up. Your job: choose the style of squeeze you desire, dial up more or less , and get on with your life. SPECIFICATIONS - Two Channel Character Compressor - Heavily Colored Analog Flavor - 7 Unique, Versatile Compression Curves - Harmonic Distortion Generators - Saturation and Clipping Circuits - Separate High Frequency Limiters - Switchable Transformer Coloration - Swiss army comp, never pumps or gets unmusical

The V2104 is the latest model in Quested s V-Series range of active, powered, monitors. The compact, ported, direct radiator design utilises a 4 /100mm paper cone bass driver and a 1 1/8th / 28mm soft-dome high frequency unit. Power is derived from a 2-channel Class D module, chosen primarily for its sonic performance and also for its compact dimensions. The cool running of Class D enables the mounting of the module directly onto the aluminium rear panel of the speaker enclosure, thus keeping cabinet dimensions to an absolute minimum. The diminutive size of the V2104 makes it the perfect choice for a portable monitor. Low frequency performance can be seamlessly extended by using our SB10R or the QSB112 sub-woofers depending on speaker configuration. Specification: Dimensions: 132(w) x 262(h) x 160(d) mm Weight: 3.5 kgs Drivers: Bass cone 1 x 100 mm (4 ) / High Frequency soft dome 1 x 28 mm (1 1 8 ) Maximum Cont. SPL: 100dB pink noise @ 1 m prior to full clip Frequency Response: 100Hz - 20kHz ± 2 dB / 88Hz -6dB Connector: XLR and 1 4 inch Jack combo socket Impedance: 10k Ohms electronically balanced with RF filters Sensitivity: Rear mounted 11 position rotary potentiometer. Minimum sensitivity 5dBu for 94dB SPL @1m Maximum sensitivity -11dBu for 94dB SPL @1m Protective lower filter: -3dB @ 45 Hz, 24dB/oct Protective upper filter: -3dB @ 30 kHz, 24dB/oct Crossover: 1k67Hz Power Amplifier: LF Output Power: 70W RMS continuous HF Output Power: 70W RMS continuous THD: 1% at levels up to 1 dB below clip, 20 Hz-20 kHz. Typ 0.01% @ 1 kHz. Power On: Front mounted blue LED in combined On-Off switch indicates power applied. Clip: Red LED in combined On-Off switch indicates 1dB before amplifier clip.

The Sub6 is a large volume cabinet design, equipped with an 11 woofer and a rear laminar port. This configuration guarantees bass linearity whatever the intended SPL. The control board is extremely versatile, with connectivity which allows a 2.1, 2.2 and multichannel use via the L/R inputs and outputs and the LFE. The numerous settings such as the high-pass crossover dedicated to monitors, the adjustable phase and level control provide optimum coupling with the Solo6 Be and the Twin6 Be monitors. And finally, a small, but important point: the footswitch input. It enables one to connect a pedal to deactivate the subwoofer and the high-pass crossovers on the outputs that supply the monitors. This simplifies and greatly improves control during the different stages in monitoring.

Shape 50 is the versatile monitoring loudspeaker par excellence. This monitor can be used from 30 away (80cm), and it has very extended low end frequency response (50Hz) considering its compact design. Thanks to this design and to the numerous settings, this monitor is ideal for rooms measuring less than 130ft² (12m²). Main features - Low directivity tweeter for a flexible listening position - Designed without a port allowing it to be placed near a wall - Numerous settings for optimal integration - Accurate control, even in the very high end - Flax sandwich cone: controlled and articulated bass, natural and detailed lower mid-range and upper mid-range registers - Threads for ceilling and wall mounts (fastening accessories not supplied)

Focal Shape 65 is the reference of the Shape line. Although it s dedicated to nearfield monitoring, this monitor enables extraordinary monitoring quality, in the lowest to the highest frequencies. Simply a must, this monitor will express its full potential from a listening distance of three feet away (1 metre). Main features - Low tweeter directivity for a flexible listening position - Designed without a port allowing it to be placed near a wall - Numerous settings for optimal integration - Accurate control, even in the very high end - Flax sandwich cone: controlled and articulated bass, natural and detailed lower mid-range and upper mid-range registers - Fastening mechanisms present on the back and underneath the loudspeaker: for installing on the ceiling or a wall (fastening accessories not supplied) - Threads for ceilling and wall mounts (fastening accessories not supplied)

PARTICLE 2 Particle is a granular delay / pitch shifting pedal. It chops your signal into small grains and then rearranges, shifts, and mangles it, using the techniques of granular synthesis in real time. Results range from radical pitch and delay modulation to shimmering repeats to time stretching, stutter, and glitch sounds. Features 3 pitch modes: detune, density, LFO 5 delay modes: random, density, LFO, random pitch, reverse Adjustable grain size and density (inter-onset interval) Pitch shift /- 1 octave Delay 0-2.5 seconds Feedback with adjustable lowpass filter Auto-freeze/stutter with adjustable threshold Tap tempo/momentary freeze footswitch Independent tap divisions for different parameters Soft touch bypass (momentary or latching), user replaceable Stereo input/output (TRS) Assignable expression pedal or remote footswitch port Additional parameters via USB MIDI Presets (4 on front, 127 via MIDI) Assembled in USA. Requires a 9V 250 mA center negative power supply (not included). New in version 2 Particle 2 is a complete redesign, incorporating many improvements for live use and better sound quality. The enclosure is smaller, 3 wide with all jacks on top. 127 presets can be stored. The active preset and bypass state are remembered, eliminating pre-show adjustments. Delay time has been extended from 900 ms to 2500 ms, at a higher sampling rate. Tap tempo allows delay time, LFO rate, grain size, and density adjustment with independent note divisions. The expression pedal is assignable to any combination of knobs, and our DIY-friendly Remote 4 switch allows foot control while the Particle sits at table height for knob tweaking. The eight modes can be combined to explore more granular synthesis territory, and MIDI (via USB) gives access to additional parameters.

Listen Professional circum-aural closed back headphones are the essential work tool for music production. Their tonal balance and precision in terms of audio spectrum make them perfect to evaluate the sound work quality. In addition, their comfort and accessories will make them very attractive for people travelling on business trips. The sound quality and the dynamics of these headphones are very surprising considering that this quality is usually found on more expensive items. The attention to detail of these headphones can be also shown thanks to the various patents and technologies which belong to Focal. Hence, a brand new driver membrane was developed. The main goal was to propose a solution which would keep all the dynamics from the original track while reproducing accurately every single detail on the whole audio spectrum. Even if Listen Professional headphones are closed, they produce a very lively sound, giving the feeling of semi-open headphones while still providing the isolation of closed headphones. Main features - Exclusive cone technology offering acoustic transparency and excellent dynamics - Precision and neutrality - Total control over the audio spectrum - Excellent isolation - Compact, rigid carrying case - Optimal comfort Accessories provided - Rigid carrying case - 16ft (5m) coiled OFC cable - 4.5ft (1.4m) OFC cable with remote control and omnidirectional mic - 3.5mm stereo jack socket to 6.35mm stereo jack plug Specifications - Type: Circum-aural closed-back headphones - Impedance: 32 Ohms - Sensitivity: 122 dB SPL / 1 mW @ 1 kHz - THD: 0,3 % @ 1 kHz / 100 dB SPL - Frequency response: 5 Hz - 22 kHz - Weight: 280g / 10oz - Hard-shell carrying case provided: 97/16 x 80/8 x 43/8 (239 x 212 x 111mm)

Leave Your Amp At Home. Nothing reveals the true nature of your guitar and your playing like a world-class tube amp driving a perfectly matched speaker cabinet in a great sounding room. Now there is a pedal that truly delivers that sound and feel, with simple controls for effortlessly dialing in the perfect amp tone when going direct. Discover inspiring tube amp responsiveness, unprecedented impulse response speaker cabinet realism, and controllable natural sounding room ambience. Three amplifier models crafted using Matrix Modeling , capturing the subtleties and unique tonal qualities of each amp Round Amp based on* a Fender® Deluxe Reverb® Chime Amp based on* the Brilliant channel of a Vox® AC30 Punch Amp based on* a Marshall® Plexi (Super Lead model number 1959) Nine Impulse Response speaker cabinets, 24bit / 96kHz 500ms Stereo (three per amp type), pre-loaded with a curated set of IRs: Deluxe Reverb 1×12 by OwnHammer Blues Junior® 1×12 by CabIR Vibrolux® 2×10 by CabIR AC30 2×12AlNiCo by OwnHammer 1×12 AlNiCo by Celestion® Mesa® 4×12 by Valhallir GNR 4×12 by OwnHammer 2×12 Vintage 30 by Celestion Marshall® 8×12AlNiCo by CabIR Load your own impulse responses using Strymon Impulse Manager software Hybrid IR/algorithmic Room control with selectable small, medium, and large rooms Simple, responsive amp-style controls for Drive, Level, Bass, Middle, and Treble Premium stereo high impedance discrete JFET analog front end with up to 22dB of pure analog gain Stereo Input (requires TRS adapter cable) Stereo Output Operates at instrument and Line Level input sources Discrete transistor headphone amplifier Expression pedal input provides seamless morphing between knob positions (Expression mode), or smooth pre/post volume control with logarithmic taper (Volume mode) USB jack for connecting to Strymon Impulse Manager software to add and edit your own speaker cabinet IRs Compatible with Strymon MultiSwitch Plus for remote selection of up to 4 presets Full featured MIDI control accessible via EXP Jack for remote parameter control and access to 300 preset locations (requires Strymon MIDI EXP cable or MIDI to TRS interface) Ultra-low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality Super high performance SHARC and ARM co-processors 32-bit floating point processing Transparent Analog Buffered Bypass Strong and lightweight anodized black aluminum chassis 9V DC power supply included Power requirements: maximum 9 volts DC center-negative, with a minimum of 500mA of current Dimensions: 4.5 deep x 4 wide x 1.75 tall 11.4 cm deep x 10.2 cm wide x 4.4 cm tall Designed and built in the USA Go Direct With Gorgeous Tone. Iridium gives you three iconic amplifiers, with a total of nine impulse response speaker cabinets that complement the tonality of the amp. Skip the hassle of lugging around or miking amps. Place Iridium on your pedalboard and send gorgeous stereo amplifier tones, stunningly realistic cabs, and lush room ambience direct to a recording interface or PA system. With Iridium, it s a snap to dial in a direct tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones. Three Iconic Amplifiers Our Matrix Modeling process captures all the subtleties and unique tonal qualities of each amplifier. We ve taken three iconic tube amps with distinct characters and mathematically modeled every aspect of their circuitry with absolute precision to deliver the response, feel, and inspiring experience of playing through the original amps at their best. Taking the process a step further, we ve hot-rodded each amp to provide an extended range of tonal options beyond what was available from the original designs. Nine Stereo IR Cabinets Iridium s speaker cabinets offer a level of realism and responsiveness unprecedented in outboard effects. Iridium delivers full stereo 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses. Until now, IRs of this resolution have only been available for use within studio recording software. Iridium s breakthrough technology means you can use the very best impulse responses available, bringing maximum realism to your pedalboard. Adjustable Room Ambience Iridium s hybrid room reverb combines a 256 millisecond stereo impulse response with Strymon s reverb tank algorithm for extended decay. This combination places your amp and cab in a natural sounding room (small, medium, or large), creating a space for your amp to open up and breathe. The Amps We've Always Wanted. Round Amp Based on* a Fender® Deluxe Reverb The Deluxe is one of the most recorded amps in history for good reason. This amp is clean, bright, and mid-scooped, with plenty of headroom. At higher Drive settings it delivers an overdriven sound unique to its architecture. We chose the Deluxe s Normal channel for its round tone that plays well with pedals. While preserving access to all the tones originally available with this channel, our model gives you something extra: a midrange control. With the midrange at noon, you get the original fixed-resistor value and standard tonal characteristics of the Deluxe. Turn down the midrange for a more scooped sound, or turn it up for tweed-era tones. Chime Amp Based on* the Brilliant channel of a Vox® AC30TB The amp that defined the guitar sound of the British Invasion. Our model of the AC30TB Brilliant channel is jangly, bright, and chimey, providing air for subtle passages with a light touch, and bite when you want to dig in. For this amp, the Middle knob acts a Tone Cut knob, providing high-end roll-off just before the power tubes, per the original AC30 design. In addition to the full available gain of the original amp, toward the top end of the Drive knob s range of travel, we ve added a frequency-shaped front end boost to tighten the low end while driving the amp further into saturation. Punch Amp Based on* a Marshall® Plexi (Super Lead model number 1959) This powerful amp is meatier, with higher gain than the other two amps, and has a powerful midrange response. This amp features a buttery, smooth overdrive. At higher Drive settings it will deliver all the high gain distortion and growl this amp is known for, and then some. Setting the Drive control at around 2 o clock gets you the maximum gain the original Plexi design allowed. Beyond that, our model has some additional gain on tap, giving you access to custom hot-rodded Plexi high gain tones. Amp Science Our Matrix Modeling process captures all the subtleties and unique character of each amplifier. From the unique composition of each tone stack, to component values, bias levels, corner frequencies, and tube stage gain; all of these factors affect the way a note or chord reacts and evolves over time, and all have been mathematically modeled with the highest fidelity. We included multi-stage power sag, so that the sag response and time constant for each stage of the amplifier is modeled separately, adding further harmonic complexity and realistic feel. We also modeled the compression, limited cone movement, and speaker distortion that can happen at high signal levels. We carefully set the range and taper for each knob to make it easy to dial in a variety of great tones with intuitive, predictable amp-like responsiveness. Combining the meticulous reproduction of original circuits with careful fine-tuning has resulted in three stellar amp models that deliver the response, feel, and inspiring experience of playing through the original amps at their best. Tone Stacks That Hit All The Sweet Spots Aggressively boost the treble, and Iridium beautifully reveals all the subtle nuances of even the softest fingerstyle playing. Crank the bass, and enjoy resonant low end that will make you swear there s an amp in the room even when monitoring through headphones. True to the tone stacks of the classic amps we modeled, Iridium s tone controls have the same interdependences as found in the original circuit designs. Iridium gives you amp EQ that is a joy to use, yielding a wide variety of great tones in any direction you go. A Carefully Curated Cabinet Collection. Nine Stunningly Realistic Cabs. Iridium comes pre-loaded with a carefully curated collection of premium cabinet IRs from OwnHammer, Celestion, cabIR and Valhallir. You can also load your own IRs using Strymon Impulse Manager software. Deluxe Reverb® 1×12 by OwnHammer Impulse of a vintage Fender® Deluxe Reverb 1×12 open back combo with a 1978 Fender CTS ceramic 12 speaker. Blues Junior® 1×12 by cabIR Impulse of a 1×12 Blues Junior cabinet with a Jensen® C12N speaker. Vibrolux® 2×10 by cabIR Impulse of a 1965 Fender Vibrolux 2×10 with Jensen C10NS speakers. AC30 2×12 AlNiCo by OwnHammer Impulse of a Vox® AC30/6 open back 2×12 combo with 2001 Celestion® T0530 Blue AlNiCo speakers. 1×12 AlNiCo by Celestion Impulse of a Celestion Blue AlNiCo speaker in a closed back 1×12 cab. Mesa® 4×12 by Valhallir Impulse of a 4×12 Mesa Boogie halfback with two Celestion Black Shadow® MC-90 and two ElectroVoice® Black Shadow EVM12-L speakers. GNR 4×12 by OwnHammer Impulse of a 1971 Marshall® 1960B basketweave 4×12 cabinet with 1971 Celestion T1221 G12M-25 speakers. 2×12 Vintage 30 by Celestion Impulse of a Celestion Vintage 30 in an open back 2×12 cab. Marshall 8×12 AlNiCo by cabIR Impulse of a 1965 Marshall 8×12 re-issue full stack cabinet, with Celestion T652 AlNiCo speakers. Unprecedented IR Technology. Impulse responses allow the sound and character of a mic d speaker cabinet to be captured, so that any audio signal can be processed by the resulting impulse response and sound as if it s being played through that exact speaker cabinet. Iridium is able to deliver impulse response resolution far greater than any other piece of outboard gear. With full 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses, Iridium is able to use the absolute highest quality IRs available. This means countless details are accurately preserved and reproduced to give you a completely real speaker response. Every cabinet resonance, speaker vibration, as well as reflections between the cabinet, the mic, the floor, and the ceiling; all the minuscule cues that tell our brain we are listening to our favorite cabinet are preserved, providing completely lifelike realism. Load Your Own Impulses. It s easy to replace the pre-installed IRs with custom IRs from your own collection by using Strymon Impulse Manager software. To download the software or learn more, visit strymon.net/support/iridium. Where Can I Use Iridium On Stage Want to play live with the exact same tones that you use at home or in the studio Or have access to multiple amp and cab setups without having to lug them on stage Leave your amps at home, and connect Iridium directly to the house PA system. Going direct eliminates the need to mic an amp, giving sound engineers the option to send your amp and cab tone directly to a wedge or in-ear monitors. Instant adjustments to your tone are right there on your pedalboard, only a footswitch away. With Iridium, there are no menus to wade through just familiar, responsive amp-style controls for instant, easy adjustment. In the Studio Iridium provides gorgeous, iconic amp tones, stunningly realistic stereo cabinet impulse responses, and natural room ambience essential elements for recording guitar in the studio. Place Iridium at the end of your effects chain and capture stereo amp and cab tones direct into your recording interface. Or, place Iridium before your delays and reverbs to allow those time-based effects to occur post amp and cab. Skip the hassle of miking up your amps or having to crank them up to get the tone you desire. Instantly audition amps and cabs with the flick of a switch. At Home You can t always crank up an amplifier when you want to play in your living room or rehearse at home. Plug your favorite set of headphones into Iridium s headphone jack and get immersed in the sounds of iconic amps and cabs in a natural sounding room. Integrate Iridium into your pedalboard by placing at the end of your chain or before delays and reverbs, and experience your entire pedalboard tones directly in your headphones. More Use Cases Iridium also allows for less common use cases. Want to use Iridium s amplifiers but not the IR cabinets Select Iridium s Cab Bypass mode, and connect the output(s) to the effects return or power amp input on a guitar amplifier. Want to use Iridium s IR cabinets but not the amps Engage Iridium s Amp Bypass mode, and connect a preamp or preamp pedal (such as Riverside) to Iridium s input. Because the purpose of Iridium is to generate amp and cabinet tones, the primary use case is for direct situations. It s not recommended to connect Iridium to a guitar amplifier. Direct Tone That Inspires. With Iridium, it s easy to dial in a direct guitar tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones. In this video, we take a look at the direct environments where Iridium shines. More Features An Amp, Through a Cab, in a Room. Iridium features a hybrid room ambience design that combines 256ms impulse response captures of real rooms for realistic early reflections, with an algorithm for extended decay and modulation. This combination places your amp and cab in a natural sounding room, creating a real space for your amp to open up and breathe. In addition to controlling the amount of room ambience, you can also choose a small, medium, or large room. Super Quiet, Amazingly Responsive. Iridium s input features an ultra low noise, discrete, class-A JFET preamp circuit providing up to 20dB of pure analog gain. This variable gain JFET circuit is used in concert with DSP to create the tube driven input stage of each of Iridium s amps. With our hybrid approach you get the best of both analog and digital worlds. The JFET stage acts as an analog front end conditioner, providing exceptional touch sensitivity and dynamic interaction with your guitar while improving noise performance, and the incredibly powerful SHARC DSP facilitates the great level of detailed complexity and responsiveness of each tube amp s circuitry. This combination of variable gain JFET and DSP is also how we are able to deliver that hot-rodded extra gain at the top end of the Drive knob for the Chime and Punch amps. Stereo Through and Through. Iridium is perfect for use with stereo effects in stereo rigs. Iridium s TS-mono/TRS-stereo input features stereo class-A JFET preamps feeding into a stereo amp driving a stereo speaker cabinet in a stereo-captured room feeding stereo outputs. Get Immersed. You can t always crank up an amplifier when you want to play in your living room or rehearse at home. Plug your favorite set of headphones into Iridium s headphone jack and get immersed in the sounds of iconic amps and cabs in a natural sounding room. Everyone Has a Favorite. Iridium allows you to save and recall your favorite settings. Simply dial up your favorite sound, and press and hold the Favorite switch to save these settings. Instantly recall these settings with the press of the Favorite switch, or press again to return back to the current knob and switch settings. Or, connect a MultiSwitch Plus to give you access to 4 presets right at your feet. You can also connect a MIDI device to access up to 300 presets. Hidden Superpower. Lurking inside your Iridium pedal is a hidden superpower: MIDI Control. Save and load presets with up to 300 preset locations. Control all knobs and switches via MIDI. Integrate Iridium into an elaborate MIDI pedalboard or use in an ultra-compact setup for easy travel. Connect our MIDI EXP Cable to the EXP/MIDI pedal jack to access these features. Powerful Expression Control. With Volume Mode, you can connect an expression pedal and use it as a Volume pedal, providing a logarithmic taper for smooth volume control. This provides an excellent alternative to a standalone volume pedal. Volume can be set for pre or post amp, cab, and room settings. Or, use your expression pedal to enjoy a whole new level of instantaneous, continuous control. Set as many knobs as you like for the heel position and toe position of your expression pedal, and all settings will simultaneously morph throughout the full range of the expression pedal. Amp Research and Development Delivering the complete experience of playing into an amp through a miked cab in a room is a research and development project that has been years in the making. The amp development began in the tube emulation and cascading gain stage topography created for Riverside, and then majorly leveled up for the intense degree of real-time calculation Matrix Modeling required to create Iridium s amps. We re not just talking about the perfectly recreated tone stacks, but also things like the treble bleed on the gain controls, multi-stage power supply sag, and preamp and power amp tube emulation. Our talented and tireless engineering team covered quite a bit of new ground on the way to recreating these classic amp designs with exact mathematical fidelity, and then expanded the capabilities of each amp in musically useful ways, giving you the full range of original amp sounds, and then some. Impulse Response Technology We knew it was theoretically possible to deliver our goal of 24bit 96kHz 500ms impulse responses, but we had to figure out how to do it in practice. This part of the Iridium project turned out to be a five-year journey through adversity. We started with a smaller proof-of-concept FFT (fast Fourier transform) based IR convolution with shorter-duration mono cab IRs, kept working on it, and eventually tore it all down and rebuilt so we could deliver the 24bit 96kHz 500ms IR cabs that we d dreamed of for Iridium. Hybrid Room Ambience Design With these amazing amps and cabs, we wanted to create amazing spaces for them to live and breathe in. When you are playing in a physical room, the first 80 milliseconds or so of early reflections are what really tell your brain what type of space you re in. The complexity of those myriad early reflections are very difficult to simulate with an algorithm. That s where impulse response technology is the perfect tool for the task. After a certain duration, however, impulse responses become computationally expensive, and that s where the algorithm shines: on the long tail. The algorithmic portions of our room ambience were dialed in for each room, with delay lines tailored to enhance and meld with each specific space and room size. Creating a seamless transition between IR and algorithm was an intensive and artistic process that ultimately resulted in completely natural sounding rooms that feel great to play in and never distract. SHARC and ARM Co-Processors Iridium makes the most of the powerful combination of a high-performance 32-bit floating-point SHARC ADSP-21375 processor working together with an ARM co-processor. The SHARC is the perfect choice for handling the plethora of FFT instructions Iridium s real-time sound processing requires, including adding and subtracting simultaneously. We ve created an optimized high-speed communications link between the two processors, and have maximized what the ARM co-processor can do. Each turn of any of Iridium s knobs sets off a chain of numerous coefficient calculations which we let the ARM co-processor handle, leaving the SHARC free to do its massive computational number crunching full-time at maximum capacity. Besides stellar sound and responsiveness, this combination delivers super fast patch switching. The ARM also provides USB connectivity and allows you to very quickly load and audition impulses with our Impulse Manager software. Iridium is really a new class of device. You get IR resolution never before available in outboard gear, without paying a price in patch switching time, allowing you to select presets seamlessly with the speed you expect for live performance use. Manufacturing Iridium, like all of our effects pedals, is built right here in Los Angeles, California. There are many advantages to building our pedals within minutes of our design shop. Most importantly, we control every aspect of manufacturing to ensure quality and consistency at every step of the process. Every potentiometer, encoder, switch, LED, and audio component on every pedal is tested and re-tested. Using the latest Audio Precision audio analyzing gear, each pedal must exceed our exacting audio quality standards.

Like our single reeds, Légère bassoon reeds have all the depth and warmth that elite players demand. Because they are made from our specially prepared synthetic material, the deliver all the advantages of a traditional Légère reed: consistency, durability and an instant response. Materials Légère reeds are made from polypropylene, which is approved by the FDA for use in direct food contact applications, so our reeds are completely safe to use. For more information, see our Materials page. Process Légère bassoon reeds are cut from our own unique polymer on 3-axis, computer controlled precision cutting machines. We can also measure our reeds with extreme precision using computer controlled equipment, and this allows us to maintain very tight quality control. The reeds are cut in halves using our own customized profiles which are based on a mathematical description of a reed profile rather than a model or prototype. The halves are then bonded together again using a digitally controlled system. The result is a reed which is perfectly balanced in both blades, and has just the right combination of tip thickness, heart, and flexibility. Because the process is entirely digital, we can design new reed profiles very easily. Instructions for Playing the Légère Synthetic Bassoon Reed 1. Basically the reed is what it is! Currently, we are producing reeds with a tip width of 16 mm in soft and medium strengths. Do not try to work the blades with your knife. You will only dull your knife. The polymer is about half the thickness of cane, is very brittle, and has its own grain. The only adjustment possible is to the aperture. You may close the aperture by gently squeezing the blades together about 15 mm from the tip edge. You may also open the aperture slightly by gently squeezing on the sides with your fingers about 15 mm from the tip edge. Do NOT use strong force or pliers because the reed will crack. 2. The sides have been sealed from the butt to the tip edge and it is important not to break that seal. 3. If you wish to make the reed harder, you will need to OPEN the aperture. Place the reed in hot water (approximately 90 Centigrade/ 194 Fahrenheit ) for 30 seconds. Remove with tweezers, insert a plaque and place in cold water for a minute. Be careful not to jam the plaque in so as to unseal the sides. You can also tie a string onto the reed to make it easy to remove from the hot water. If you heat the water in the microwave above the boiling point it can flash boil when the reed is inserted. This phenomenon is called super heating. To avoid this, stir the water gently with a fork before inserting the reed. WARNING: opening the aperture will allow more air but may also cause the 1 finger e to fall. (See #4) 4. If the 1 finger e falls, you may close the aperture slightly. If you need to have more stability, you may also clip the tip back as you would on cane reeds. 5. If you wish to make the reed softer, you will need to CLOSE the aperture. Place the reed in hot water (approximately 90 Centigrade/ 194 Fahrenheit ) for 30 seconds. Remove the reed with tweezers and immediately close the tip edge by squeezing the blades with your thumb and fore finger. You may also use a clamp but clamps tend to close the aperture too much necessitating the partial insertion of a metal plaque to re-open the aperture slightly while the reed is still warm. You can also tie a string onto the reed to make it easy to remove from the hot water. If you heat the water in the microwave above the boiling point it can flash boil when the reed is inserted. This phenomenon is called super heating. To avoid this, stir the water gently with a fork before inserting the reed. 6. If you have a thick walled bocal and the reed will not fit, you may ream the reed the way you would ream a cane reed. However, be careful to remove the debris from inside the tube with a rat-tail file. 7. After a period of playing (usually around 15 to 20 hours), you may notice an accumulation of debris on the inside of the blades of the reed often accompanied by a slight discoloration. This debris will actually dampen the vibrations of the reed, making it a bit stuffier, and therefore should be removed without breaking the seal on the sides. (See Caring for your reed below.) Caring For Your Reed Légère synthetic bassoon reeds are rugged and should last for many hours of playing. However, the tip edges are fragile and the reed can split or break if one tries to manipulate the aperture by squeezing the tube as one would a cane reed. (See Instructions for Playing the Légère Synthetic Bassoon Reed above) One of the best features of a Légère reed is that it does not need to be moistened prior to playing, and it is not subject to weather and humidity differences. It will warm up over the first few minutes, and should then be stable for an extended period. The reeds should be cleaned periodically with water and a mild detergent. Germicides such as Sterisol can be used to clean the reeds, but you should not assume that such products will sterilize them. You can also pull a soft pipe cleaner from the butt through the aperture to remove debris. Be careful, however, NOT to break the seal on the sides of the reed. We advise against sharing reeds or using reeds that have been tested or played by others unless the reeds have been sanitized. With proper care and maintenance, your Légère reed should provide you with many hours of playing pleasure. Many players report that our reeds can last for months.

The starting point for Quested s full-range monitoring. Two class A-B amplifiers capable of delivering a total of 190 Watts RMS are mated to an enclosure tuned with a double flared port designed to minimise any possible low frequency chuffing . The result is an extremely powerful, neutral, articulate and accurate compact monitor perfect for a wide range of music styles from acoustic jazz to house. The frequency response is more than adequate for most applications, it can however be extended down to 25Hz when coupled to the SB10R sub-woofer. The S7R is fully magnetically shielded, so can be used in close proximity to CRT monitors. All S-Series monitors are phase coherent with each other enabling them to be used in combination in 5.1 multi-channel systems Some typical applications include components in multi-channel systems, postproduction, project studios, location recording, and mastering.

In 1966, a salesman named Ivor Arbiter saw the rising British rock scene demanding the effect of fuzz. He decided that his company Arbiter Electronics* needed to join the other London guitar product companies and release his own take on this trending sound. After seeing the circular base of a mic stand, he came up with the idea to put the effect in a similar round enclosure and give it a face: two eyes made of knobs, a foot switch nose, and a brand label mouth. Thus, the Fuzz Face* was born. That same year an American guitarist named Jimi Hendrix arrived in London and adopted Ivor\'s design as his weapon of choice, and the rest is history. The first few years of the Fuzz Face* were manufactured using germanium transistors but by 1969, germanium fully gave way to silicon devices and Arbiter never looked back. Hendrix himself preferred the silicon versions over germanium because of their sound, aggressive bite, and their stability in environments where germanium proved inconsistent. The JHS Smiley is a sonically faithful recreation of what makes these early silicon Fuzz Faces great. Several vintage units from my collection were considered and analyzed so that we could be sure to perfectly capture the magic that I love in this era. The Smiley is clear and defined, straddling the line between distortion pedal and a searing sustain, sustaining low end and crisp mid-range bite that you expect from a vintage Arbiter unit. One of the most revered characteristics of a good Fuzz Face* is its ability to clean up when the guitar\'s volume is rolled back, and the Smiley does this effortlessly. The controls are Volume and Fuzz. Volume sets the overall output level of the effect, turn it up and it gets louder. Fuzz is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a Mode control. Push this button to access our own unique JHS Mode. This mode sends the Smiley into high gain / gated fuzz territory that you may never want to come back from. If you want a fuzz that covers coveted classic tones, look no further. Legends like Jimi Hendrix, Jack White, Eric Clapton, David Gilmour, and Eric Johnson have used this circuit on countless albums. Now it\'s your turn.