Limited to 1500 units worldwide, Black Ash is a fuzz/overdrive that takes some cues from the vintage “three-knob Bender.” It uses a highly curated cache of rare and irreplaceable components including paper-in-oil capacitors and NOS half-watt carbon composition resistors from EQD President Jamie Stillman’s personal stash to light a fire under this classic fuzz/drive with an explosive-yet-detailed treble response, a sturdy midrange, and subterranean bass extension.
Aqueduct™ is a vintage-inspired pitch vibrato with eight modulation modes delivering synth-like sonar pulses, touch-sensitive frequency modulation, gentle rolling pitch-wobbles, steady kosmische pulsations, rapid trills, slimy sonic squiggles, whammy bar wiggles, pitch bends, pseudo-flange, and anything else your pitch-warped brain can picture in your murky mind’s eye.
Pyramids is a Stereo Flanging Device with five presets, eight flanger modes, tap tempo, tap subdivision, a multifunction Modify control, positive and negative Feedback, and a variable Mix control, which is something you don’t see on a flanger every day.
Built upon the same proprietary DSP architecture as the Avalanche Run™, Pyramids delivers convincing jet-engine roar, authentic through-zero tape-style warble, infinite barber pole sweeps, flexible I/O routing, and the ability to re-trigger the LFO cycle via footswitch opens up a fourth dimension of rhythmic possibilities that’s sure to tickle your third ear.
The second version of the Rainbow Machine will have "more versatile, twice as loud as the original, with an extended delay time, deeper chorus tones, improved signal-to-noise ratio, silent flexiswitch footswitches on both the Activate and Magic functions." For more info, visit Earthquaker Devices.
Avalanche Run V2 will feature "an updated reverb algorithm for enhanced stereo imaging, new custom-built enclosure, flexi-switch switching for standard latching or momentary operation." For more info, visit Earthquaker Devices.
It's basically a transparent overdrive, and with a list price of $179.00 it'll be within range of similar drive pedals. For more info, visit Earthquaker Devices.
Westwood is a touch sensitive translucent overdrive manipulator as clean and pure as the breeze which blows through a grove of Douglas Fir trees, and as hot as a damn fine cup of coffee.
This mild-mannered light- to medium-gain overdrive with active EQ controls will still knock the socks right off your trusty low-wattage combo amp, pushing it into anything from cutting, edge-of-breakup rhythm tones, all the way to articulate, singing lead tones stacked high with pleasing even-order harmonics and sweet, sweet sustain. And if you pair it up with your favorite head and cab, you should probably call the neighbors first, because the Westwood’s Level control has enough output on tap to alert the proper authorities. Even the FBI.
Each and every Westwood is a real Blue Rose case, hand built by a team of special agents in the Black Lodge of Akron, Ohio, USA, where the owls are not what they seem, there’s always music in the air, and the birds sing a pretty song.
"Officially", because it was accidentally made available to order and had already shipped to at least one customer.
The Data Corrupter is a monophonic analog PLL harmonizer with modulation. It takes your input signal and brutally amplifies it into a crushing square wave fuzz tone that is then multiplied, divided and modulated to create a wild, yet repeatable, three-voice guitar synthesizer.
The Master Oscillator is the central nervous system at the heart of the Data Corrupter’s cyberpunk hive mind. It feeds your input to the Data Corrupter’s signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2) for maximum compatibility with your preferred instrument and frequency register. Once you’ve chosen your input octave, then the Data Corrupter will perform its calculations and spit out an analog synthesized frequency, which can be pitch-bent for portamento or vibrato sounds by the Frequency Modulator! From there, you can blend in one of eight Subharmonic intervals up to three octaves below the input and mix in a square wave fuzz tone for maximum data corruption.
Each and every Data Corrupter is built one-at-a-time by a team of ensigns aboard the Starship Enterprise locked in orbit around the Borg Cube of Akron, Ohio, USA. Make it so. Engage.
Earthquaker Devices have upgraded five of their pedals to newer versions - the Dunes, Terminal and Tone Job will all be updated to V2, which simply uses silent relay switches rather than commonplace hard switches, while the Ghost Echo and Sea Machine will be updated to V3 and see new features. Below are demos for the V3 versions of the Ghost Echo and the Sea Machine, along with their respective new features. More info on these upgrades are available at Earthquaker's blog.
- Upgraded op-amps for better performance and lower noise than v1 & v2
- Stronger reverb signal with 2x the output of the v1 & v2 Ghost Echo
- Recalibrated “Dwell” control capable of self-oscillations when all the way up
- New artwork
- Silent relay-based switching
- Improved circuitry for better performance, cleaner sound, and lower noise
- More range added to almost every control from subtle modulation to extreme oscillation
- Silent relay-based switching
Can we ask you a serious question? When’s the last time you turned up your favorite fuzz pedal to anything but eleven? If there’s one true thing about rock n’ roll, it’s that it sounds best cranked all the way up. But where do we go from here? We go one louder. Enter the Erupter.
The Erupter is the result of over two years’ worth of tone-chasing, tweaking, and experimentation in search of the ultimate classic fuzz tone with a big low end (but not too mushy), a biting top end without being too harsh, and just enough output to politely send a tube amp over the top.
We used every trick in the book to craft a classic fuzz Device that sounds good with any pickup type, anywhere in the chain (even before a wah pedal!) without any tone-sucking impedance mismatching. We build each Erupter with a buffered input section, transformer-based pickup simulation, new production 5% ½ watt carbon composition resistors, metallized polyester film capacitors, Sprague and BC electrolytic capacitors, and low-gain, hand-matched NOS silicon transistors to deliver a well-rounded and defined fuzz tone with just enough pummeling intensity, so you can rock n’ roll all night and still get to bed at a reasonable hour.
The Erupter’s simple control set stands in stark relief of its rigorous design process, and believe us, we tried everything. Adding controls, removing controls, measuring resistors, swapping transistors, trying different capacitor values, rolling dice, throwing darts at transformer spec sheets on the wall… Heck, we would have done William Burroughs-style circuit board cut-ups if we thought it would’ve worked. If it’s good enough for the Stones, it’s gotta be good enough for us, right?
Anywho, what we finally landed on is a super-simple single knob setup that allows you to bias the Erupter’s NOS silicon transistors for the perfect sound and feel, while still being touch responsive and cleaning up nicely when you roll back the guitar’s volume and tone controls.
Low “Bias” settings yield a rude, spongy fuzz tone with plenty of sag and a blossoming attack envelope that’s gated without entering “dying battery” territory. As the “Bias” control is increased, additional harmonics stack atop the input signal, producing a stiffer, more complex fuzz tone with a tighter response, increased output, and longer sustain. We had a custom center-detent pot made to fit the required resistance for the Erupter. When the Bias control is set at noon you will feel a little click. That means the pedal is perfectly biased to give the best possible fuzz tone.
The Erupter uses a fixed master output level and gain setting for the thickest fuzz possible and to push the full frequency range of the guitar out front when you kick it on. And we do hope you’ll kick it on often.
Each and every Erupter is built by the hands of real-life dream warriors in the foothills of Mt. Akron, Ohio.
The official demo is below, and more info is available on the official product page.
The Space Spiral is a dark and dreamy modulated delay designed to take you across the highways of fantasy. While the delay may be designed around a “dawn of digital” echo processor, the sound is out of this world, man. If you are a fan of the dreary echoes produced by old oil can delays or the ethereal sound of a well-loved tape delay, the Space Spiral is totally going to tickle your tone bone.
The Space Spiral’s delay time ranges from a tight 30ms to a fast and loose 600ms. Can you imagine having 600ms of delay time at your fingertips? Out of this world! With all of this adjustable delay time you create anything from a classic slapback to a rhythmic wash of cosmic proportions. You want to take it even further? Maybe to an astral plane? Crank up the repeats and let the infinite oscillation of the Space Spiral take you to the other side.
Space Spiral™… It’ll get you through the night.
It's got a list price of $195. More info available at the official product page. The official demo is below:
The Transmisser is a modulated reverb with extra-long decay fed to a highly resonant filter. It is the sonic recreation of blowing your signal to bits, shooting it through a black hole then beaming it back down on a cloud of cosmic dust. It is a Blazar for musical instruments.
If you can’t already tell, the Transmisser is not your every-day reverberation device. It does not do subtle. It does not do spring. It does not do a wood paneled rumpus room with 1” thick carpet. It will not recreate the classic sounds of the 60’s, 70’s and 80’s. The Transmisser will create an ultimate soundscape-y backdrop to your all-night guitar freak-out. It’ll quickly turn you into a one note per minute knob twiddler. It’ll make you want to break out that dusty old expression pedal to do slow riding filter sweeps for days. It’ll get you out of that stupid ergonomic chair, close that flaptop computer and force you to enjoy playing music again and that’s the most important thing, am I right? Huh? Am I? Hello?
So how does it do what it does? The three controls across the top labeled Decay, Darkness and Freq affect the character of the reverberated signal. Decay controls the length of the reverb tail. Set it for one second or eternity depending on your mood. Darkness controls the overtones in the reverb tails. You can choose bright and shimmery or dark and dusty, your call dude. Freq controls the frequency of the resonant low pass filter. The filter is set just on the verge of oscillation and is really the heart of what makes the Transmisser the Transmisser. Even a subtle nudge of this control can take it from ethereal howl to a shimmery scream. This control can also be put under the spell of an expression control located on the Eastern side of the device. We recommend using a Moog expression pedal for optimal comfort and usability. The use of an expression pedal to control the filter can cause time to disappear, don’t say we didn’t warn you.
The three controls across the bottom labeled Warp, Rate and Mix affect how the entire reverb processor behaves. Rate is hardwired for the optimum depth and controls the speed of the system-wide modulation in a narrow range that creates a sound far more unique than a simple modulated reverb. Not only does it modulate the reverberated signal, it also modulates the Freq and Darkness within a small range that is dependent on where the Warp control is set. Slower warble to supersonic ripples can be achieved by simply turning this tiny tonal teaser. Warp is a total system slew control. As you turn this control counter clockwise; the filter becomes deeper and more resonant, the decay becomes longer and warmer, the modulation grows wider and the whole system becomes more mellow and more chill. It’s like pulling back the cape of a wise old wizard and discovering that the wizard is, in fact, wearing shorts and just wants to take it easy. Mix? Well, the mix controls how much awesome you want to blend with your boring old dry signal. It can go from nothing to probably way too much for you to handle.
The Transmisser has a fully analog dry signal path, fully digital reverberation path and electronic relay based true-bypass switching. Each Transmisser is populated by robots and assembled by glassy eyed human beans in a bunker buried 12 leagues under the sonic astronomy appreciation society of Akron, OH.
Several stores are offering 15% off new Earthquaker Devices pedals today for "Earthquaker Day", including Musician's Friend, Prymaxe and ProGuitarShop.
Pro Guitar Shop is having a Boutique Builders Sale for Memorial Day - with discounts on pedals from Earthquaker, Keeley, J Rockett, Mr Black and ZVex. The discount is reflected on the price and no code is necessary. The sale ends tonight at midnight PST.
Reverb.com, which will be the exclusive retailer for the Earthquaker Devices Avalanche Run until July, has a demo and a video manual for the new pedal. As the two videos demonstrate, it's a lot more than just a "new Dispatch Master".
Pro Guitar Shop has a nice demo of Earthquaker's new dual fuzz pedal, the Spires. The Spires uses a footswitch to change between the green channel, inspired by the Rosac Electronics Nu-Fuzz, and the red channel, a silicon version of their now-discontinued Dream Crusher. It's expected to hit stores soon with a price tag of $195.
Reverb.com has uploaded a demo video of Earthquaker's Avalanche Run from NAMM 2016. The pedal will start selling exclusively at Reverb.com in March, before being made available at other retailers later this year in July.
Earthquaker Devices has unveiled eight new pedals ahead of NAMM 2016. Here's a quick rundown with demo videos, but full descriptions for each pedal is available at their official blog.
Night Wire (Dynamic Harmonic Tremolo)
Ship Date: February 2016
MAP: $195.00 USD
Spires (Fuzz Doubler)
Ship Date: February 2016
MAP: $195.00 USD
Spatial Delivery (Envelope Filter with Sample & Hold)
Ship Date: March 2016
MAP: $195.00 USD
Bellows (Fuzzdriver)
Ship Date: May 2016
MAP: $145.00 USD
Acapulco Gold (Poweramp Distortion)
Ship Date: April 2016
MAP: $117.00 USD
This pedal is already available exclusively at ProGuitarShop, but will be made available to other retailers with new artwork in April.
Avalanche Run (Stereo Delay and Reverb)
Ship Date: March 2016 Exclusively through through Reverb.com
MAP: $295.00 USD
Is exclusive to Reverb.com in March, but available to other retailers in July.
