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STRYMON OLA CHORUS

“If there’s a pedal in the Strymon line that really showcases how in tune the company is with stellar products of yesteryear, it’s the Ola.”
– Premier Guitar

Sound Clips

Here are some sound clips played by Strymon’s marketing guy Ethan Tufts (AKA indie artist State Shirt). Signal path: Damage Control Demonizer » Ola » Pro Tools for several clips, and Ola » Pro Tools » Vox AC30 amp model for others.

Slow and Wide.

This clip starts with Ola in true bypass, and then employs the ‘even-tempered’ sophistication of the the three-delay-line Multi mode.

Muted Chorus.

Here we’re using the single-line Chorus mode to add some smooth and subtle movement to the signal. The Tone control is set at about 10:00 for a darker chorus sound. At :18 the speed is increased to add more motion to the sound.

Spinning Multi.

Clip starts in true bypass, then engages with the speed at maximum in the Multi mode. At high speeds you can generate some very fast and pleasing spinning modulations. Speed is dialed back at :29 for a less frenetic sound.

Steady Vibrato.

Hypnotic pitch variations, slow undulations, sea-sick warbles, and frantic insanity are all possible with the vibrato mode. This clip goes for some slow and steady moderate motion.

Distorto-Chorus.

Ola is great with distorted signals. This clip starts in true bypass, then goes into Multi mode. The distorted signal is fattened up, with all the organic warmth you could ask for.

Luscious Swirl.

Clip starts in true bypass, then engages with the three-phase Multi mode. Deep, organic, and luscious chorus tones are easy to create.

Below are sound clips played by our resident Sound Designer, Pete Celi. Signal path: Damage Control Demonizer » Ola » PC audio interface.

Envelope mode.

In multi mode, the ‘env’ setting reacts to your playing by mixing in more effect as you play louder. This opens up dynamically expressive creative possibilities, allowing you to ‘dig in’ and open up the sound, or lay back and dry out. The response is created with maximum transparency and musicality.

Envelope vibrato.

In vibrato mode, the Env setting reacts to you playing by increasing the speed as you play louder. In this clip we’ve set the MIX control at about 10:00 to create a rotating speaker kind of a vibe.

Ramp.

The ramp mode smoothly goes from dry sound to wet at a rate determined by the RAMP SPEED knob. The effect “ramps” in as the Ramp footswitch is engaged and the chords open up as the chorus effect comes in.

Ramped vibrato.

The vibrato is introduced smoothly and naturally in ramp mode, coming in at a rate determined by the RAMP speed control and engaged with the Ramp footswitch. This feature was present on a classic blue vibrato stomp box that continues to build its cult following today.

Download the user manual

Certified Organic.

When we set out to design Ola dBucket Chorus and Vibrato, we knew that we wanted to take a high-performance SHARC DSP and dedicate all of it’s horsepower to doing one thing—providing the most lush and organic chorus and vibrato sounds ever heard. Our hand-crafted, processor-intense dBucket algorithm delivers all of the warmth and sonic complexities of analog choruses and vibratos. We drew influence from some of our favorite vintage chorus effects and a certain little blue box vibrato with a strong cult following. Couple that with true bypass, a favorite preset, stereo input and output, and a super high quality analog front end and output section, and you have yourself a versatile chorus and vibrato workhorse.

Tone Shaping

TYPES

The Chorus type is a traditional single-delay-line chorus using our dBucket algorithm. It uses a logarithmic LFO type to create a deep chorus that makes a great transition from lush to pulsing as the speed is increased.The Multi type has three individual dBucket delay sections per channel to create a ‘studio’ chorus effect that handles a high wet mix without sounding warbly.The Vibrato type employs a sinusoidal-type LFO and a single dBucket delay line per channel to capture the essence of the original classic vibrato stomps

The Envelope mode causes the effect to react to your playing level. When Chorus is selected, the wet signal diminshes as you play louder and comes back in at lower playing levels. With the Multi type, the opposite effect happens. The wet signal increases as you play louder, and diminishes at lower playing levels. With Vibrato selected, the speed of the vibrato increases as you play louder, and slows down at lower playing levels.In Ramp mode, press and hold the bypass footswitch to ramp in the effect. Use the Ramp knob to adjust the speed of the ramping effect. The effect ramps more quickly as you turn the knob clockwise

Mouseover each knob for detailed info.Five tone shaping knobs:Speed, Depth, Mix, Ramp | Env, Tone.

Features and Specs

SOUND DESIGN

Hand crafted dBucket algorithm for highly accurate reproduction of every stage of an analog bucket brigade chip.
3 modulation types (Single Delay-Line Chorus, Three-Phase Multi Delay-Line Chorus,Vintage Vibrato Circuit)
3 dynamic modes (Normal, Envelope, Ramp)
Global Tone control for the overall color of your modulation
Mix control for dialing in the intensity of your modulation
Controllable ramp speed and envelope sensitivity

INS OUT SWITCHES

Stereo input and output
True Bypass (electromechanical relay switching)
Favorite footswitch for saving your favorite setting
No-nonsense user interface
Powered with a standard 9V center negative DC supply. 250mA minimum
Strong and lightweight blue anodized aluminum chassis
Crafted with love in the USA

AUDIO DESIGN

Super low noise, high performance 24-bit 96kHz A/D and D/A converters
110dB signal to noise
20Hz to 20kHz frequency response
+8dBu maximum input level easily handles instrument and line signals
Premium analog front end and output section
Super high performance DSP stuffed into a compact form factor

Video Demos

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STRYMON LEX ROTARY SPEAKER

We’ve made some improvements!
Lex now includes a selectable TRS stereo input as well as non-click footswitches. Read more here.

Read the Rotary Speaker Technology white paper and learn how we studied and captured every rotating speaker system detail.

“The Lex nails a host of rotary speaker tone, but it also delivers a lot of the response and feel of playing one in impressive fashion.” – Premier Guitar

“The Lex is fun, and it sounds brilliant” – Total Guitar

Sound Clips

Below are sound clips played by our resident Sound Designer, Pete Celi. Signal path: Damage Control Demonizer » Lex » PC audio interface.

Mellowed Out.

With the Mic Distance at maximum, the amplitude modulations are mellowed out. Adding a little more horn signal adds emphasis on the doppler reflections. The speed is varied to get the sense of the mechanical aspect that controls the motion.

Rotary Brake.

This clips starts with the brake engaged, and then releases and re-engages the brake to show how naturally the system starts and stops. The system comes to rest at a ‘zero degrees’ angle for consistent and sonically optimum results.

Fat Harmonics.

Bringing the mic up close creates a high amplitude modulated signal from the horn. Rich, fat harmonics are created by moderately overdriving the preamp with the Preamp Drive control.

Classic Ballad.

A jangly strat gets fattened up by driving the preamp and reducing the Horn Level slightly. Slow speed and medium Mic Distance settings combine to create a classic sound for ballads.

Maximum Drive.

Maximum preamp drive with close-up miking creates heavy harmonic content with lots of amplitude modulation. A big stereo spread when spinning slowly, and a choppy tremolo-like effect at fast speeds.

Swirly Horn.

Increasing the Horn Level adds emphasis on the high end. Minimum preamp drive creates a clean signal to get worked on by the rotating machinery.

Distant Miking.

Distant miking with added Horn Level creates a nice watery effect. Minimum preamp drive keeps things clean.

Dramatic Stereo Sweep.

Close miking with moderate Drive followed by maximum Drive. The growl is present along with the dramatic stereo sweep in slow speed and ‘choppy’ horn character at fast speed.

Clean Classic Rotary.

Mic is moved back a little, minimum Preamp Drive for a clean classic rotary suitable for comping and grooving.

Mellowing Effect.

The Mic is moved from up close to further back, and then even further away to demonstrate it’s ‘mellowing’ effect as it moves away from the rotary speaker.

Simple Progression.

A simple progression with a classic rotary sound.

Here are some sound clips played by Strymon’s marketing guy Ethan Tufts (AKA indie artist State Shirt). Signal path: Damage Control Womanizer » Lex » Digi002 audio interface.

Mellow Revolver.

Fast Rotor Speed is set to 9:00 for a medium rotational speed. Preamp Drive is reduced for a mellower and less growly tone. Horn Level is at a lower level for evened-out fluctuations. Slow/Fast switch is pressed at the :15 mark to slow the machine down. Slow/Fast is pressed again :23 to speed up the machine.

Rotating Drive.

A moderate amount of Preamp Drive is employed here for a more tube-driven tone. Slow/Fast switch is pressed at various times to slow down and speed up the system.

Swirly.

Preamp Drive is set to just above half to introduce in a good amount of tube drive and saturation. Horn Level is set in the middle for an evened-out sound.

Playing with Speed.

Acceleration Time is set to the fastest setting for a rotating speaker system that quickly switches from fast speed to slow and back. The Slow/Fast switch is pressed at various times to generate complex rotary sounds that occur when the system is in transition between speeds.

icon for Lex User Manual Download the user manual

Born to Revolve.

When we decided to create a studio-class pedal that faithfully recreates the classic, unmistakable sound of the most sought-after rotating speaker system, we prepared to study every nuance and finest detail. The Strymon sound design labs have been filled with those signature, swirling, three-dimensional sounds, as we painstakingly analyzed and recreated the physics and mechanics behind these systems.

Lex provides you with a complete, accurately reproduced rotary system: the low-frequency bass rotor, the rotating treble horn, the tube-driven amplifier, finely tuned microphone placement, and all the complex sonic interactions between these elements. Utilizing a ridiculously powerful SHARC DSP, every drop of processing power is harnessed to authentically represent these details.

You get eight parameters to tweak, allowing extensive control over the tonality and mechanics of the rotating speaker system. You can manipulate each element, from rotor speed, horn level, acceleration time, microphone distance, tube drive and saturation, and volume level. Go from a maelstrom of dramatic, up-close, sweeping and swirling sounds, all the way to mellow, tranquil and calming undulations. All of this without a giant cabinet, microphone setup, and costly motor maintenance.

Rotary Adjustment and Tone Shaping
Four rotary adjustment and tone shaping knobs: Fast Rotor Speed, Preamp Drive, Mic Distance, Horn Level.

Four “hidden” knobs for extensive tweaking: Slow Rotor Speed, Cab Direction, Acceleration Time, +/- 6dB Boost/Cut.Your 4-knob Lex Rotary is actually a 8-knob rotating speaker machine!

FAST SLOW SWITCH

Alternate between a fast and slow rotor speed. Ramp up and slow down with the press of a switch.

ROTARY BRAKE

Press and hold the Fast/Slow switch to put the brakes on. The Lex rotary will wind down and stop. When at rest, the horn and drum “brake angle” is optimally positioned for consistent results. Release the Fast/Slow switch and the rotary will begin to spin.

BI AMPING

Lex provides you with a selectable Bi-Amp mode to send bass rotor signal out to the Left output, and the treble horn to the Right output. Stack two cabinets and add another dimension to your sound.

EXPRESSION PEDAL

You get an expression pedal input with assignable control over any front-panel knob parameter. When set to Fast Rotor Speed, you can sweep and ramp all the way from the “braked” position up to a selectable speed.

What’s Happening Inside?

Lex rotary delivers a faithful reproduction of the entire rotating speaker system. It’s all here—the low-frequency bass rotor, the rotating treble horn, the tube-driven amplifier, finely tuned microphone placement, and all the complex sonic interactions between these elements. Read our Rotary Speaker Technology white paper to learn more.

SOUND DESIGN

Hand crafted rotary algorithms faithfully deliver the signature, three-dimensional rotating speaker experience
Extensive control over rotating speaker mechanics and configuration
Four rotary adjustment and tone shaping knobs:
Fast Rotor Speed, Preamp Drive, Mic Distance, Horn Level.
Four “hidden” knobs for extensive tone tweaking:
Slow Rotor Speed, Cab Direction, Acceleration Time, +/- 6dB Boost/Cut.
Instantly alternate between a fast and slow rotor speed with the Fast/Slow footswitch
Selectable Cab Filter allows for an optimal experience in front of guitar amplifiers and full range systems

INS,OUT,SWITCHING

Stereo output
High impedance mono input (internal jumper enables selectable TRS stereo input) Pleaseread this FAQ for more info on the TRS input.
Expression pedal input with selectable control over any knob parameter
Connect our optional Favorite switch to save a favorite preset or use as an external speed switch
Fast/Slow and Bypass footswitches
Press and hold Fast/Slow footswitch for Rotary Brake
Selectable Bi-Amp mode splits bass rotor and treble horn signals to separate outputs

AUDIO QUALITY

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters
110dB typical signal to noise
Premium analog front end and output section
Super high performance DSP in a compact form factor
32-bit floating point processing

MORE

True Bypass (electromechanical relay switching)
Powered with a standard 9V center negative DC supply. 250mA minimum
Strong and lightweight mahogany anodized aluminum chassis
Crafted with love in the USA

Video Demos

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STRYMON FLINT

“Enables delicious combinations of vintage colors and contemporary tones that invite creative exploration.” – “The tremolo pulses are wonderfully organic”- “The reverbs are similarly intoxicating” – Premier Guitar

“What’s best is that it all sounds great. The pedal is fun to play with almost anything plugged into it” – The Deli

“The Flint is unbelievably musical and infinitely usable” – Guitar Player

Sound Clips

Harmonic Tremolo and Reverb:

Uptempo Slide.

This example pairs the ’61 Harmonic Trem with the ’60s Reverb. The reverb is first in the chain, true to a vintage combo amp. The harmonic trem creates a nice fat sound for some up-tempo slide work, and the reverb adds some more depth at at a lower Mix setting.

Real-Time Speed Adjust.

Create some unique sounds by adjusting the speed knob in real time using an expression pedal. Using the ’61 Harmonic Tremolo and a mild ’70s Reverb, the speed knob is adjusted between 9:00 and 12:00.

Phasey.

Listen for the mild phaser effect that is a signature element of the ’61 Harmonic Tremolo. In this example the Tremolo is routed after the ’70s Reverb, which gives the reverb trails a choppy quality.

Near Infinite Decay.

Using the ’70s Reverb, Decay is set to near maximum. The ’61 Harmonic Tremolo intensity starts off at zero, and at 0:47 is set to noon.

Slow Palpitation.

Check out the phasey nature of this slow ’61 Harmonic Tremolo. This clip features the ’70s Reverb.

Tranquil.

Here we’re employing the ’80s Reverb with a very long and mellow Decay. The ’61 Harmonic Tremolo is engaged at 0:26, where it is routed before the reverb.

Tube Tremolo and Reverb:

Swamp Child.

The ’60s Reverb feeds into a ’63 Tube trem to produce a classic combo amp tone.

Bedtime.

The ’63 Tube Tremolo with maximum Intensity and slow Speed creates a hypnotic, soothing pulse. The ’60s reverb is added first to fill the trem envelope further.

Quick Pick 3.

Here the Speed is increased and the Intensity decreased to accent some fast finger-picking. Again, a dose of ’60s Spring fattens up the signal feeding the ’63 Tube Tremolo.

Freight Train Blues.

The ’63 Tube Tremolo with moderate Intensity and quicker Speed creates the locomotion for this train of blues. The ’70s Reverb is used in front of the trem, filling out the signal and accentuating the trem envelope.

Verb Gets Tremmed.

This clip features the ’70s Reverb with maximum decay running into the ’63 Tube Tremolo. Initially the Trem Intensity is set to zero, and then is gradually increased to maximum and then decreased back to zero Intensity, all while the reverb continues its decay.

Serene Tube Pad.

Using a mild ’63 Tube Tremolo and ’80s Reverb with long decay times, you can generate some very serene and subtly moving pads.

Photocell Tremolo and Reverb:

It’s Now Soon.

The ’80s Reverb is set to high mix with a long decay, feeding into the ’65 Photo Trem to produce a turbulent wall of sound.

Two Peaks.

By following the ’65 Photo Trem with the ’70s Reverb, some mysterious and moody sounds are produced.

Granny’s Tune.

Granny liked a good melody. The ’65 Photo Tremolo feeds the ’70s Reverb to add a sultry quality to this melodic piece.

Speed Changes.

Using the ’65 Photo Tremolo and a very subtle ’70s Reverb, we adjust the Speed from 9:00, to 12:00, to 3:00, then to maximum, then to minimum.

Spacey Photocell ’80s.

’80s Reverb with ’65 Photo Tremolo used to create a warbling spacey pad. At about 0:31 the Intensity is brought down to minimum, and then back up at the end.

Tremolo only:

Mellow Harmonic.

The ’61 Harmonic Tremolo adds a mellow vibe and chewy goodness to some simple chords.

Tube Intensity.

The first part has a slow Speed with maximum Intensity, highlighting the depth and fullness that the tube tremolo produces. The second part brings the Intensity down and increases the speed just a bit to complement some soft arpreggiated chords.

Fist Fight.

The ’65 Photo Tremolo gets wound up to produce a frenetic, choppy trem with Intensity and Speed at maximum.

Tremolo Comparison.

We start off with the ’65 Photo Tremolo, switch to ’63 Tube Tremolo at 0:09, and then to ’61 Harmonic Tremolo at 0:22.

Reverb only:

’60s Combo Amp Tank.

This clip highlights the dynamics of the spring tank with a surfy twang. With a high Mix, the Spring Reverb creates a classic splash when hit with a strong attack.

’70s Electronic Reverb.

The ’70s Reverb is showcased, featuring a rich, dense, and natural sound.

’80s Rack Reverb.

The ’80s Reverb is featured, with it’s slowly building density, warmth, and overall ‘big’ sound.

Infinite ’80s.

The ’80s Reverb with maximum decay achieves a synth-like wash of sustain. The modulating delay lines inject just the right amount of movement, depth and warmth.

Flint user manual Download user manual

A Perfect Gentleman — From a Classic Era.

The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made it’s way onto countless records and performances—from early surf, swampy bayou blues, spaghetti westerns, film noir soundtracks, to modern day indie rock. There are certain things in life that just belong together—the blend of tremolo and reverb create the perfect pair.

Given this storied history, there was no doubt that we wanted to develop a studio-class effects pedal that delivers this classic combination. We carefully studied our favorite classic tremolo and reverb circuits, examined the sonic complexities, and faithfully accounted for every detail in our hand-crafted algorithms. Flint harnesses the complete power of a SHARC DSP to authentically exhibit these details.

Flint gives you the soothing, pulsating, and hypnotic effects that were pioneered in vintage amplifier tremolo circuits, along with three classic and completely unique reverb algorithms. You get the sonically complex ’61 Harmonic Tremolo, the swampy and sultry ’63 Power Tube Tremolo, and the sharp and balanced ’65 Photocell Tremolo. You also get the classic ’60s Spring Tank Reverb, the inventive ’70s Electronic Plate Reverb, and the nostalgic ’80s Hall Rack Reverb.

With eight parameters to tweak, you get extensive control over the tremolo and reverb characteristics. Go from splashy, pulsing twang, to throbbing, swampy blues, all the way to ambient, trembling, and serene reverberated pads. Couple that with true bypass, and a high quality analog front end and output section, and you have yourself the history of tremolo and reverb in a pedal-board friendly format.

Tremolo Types

Flint provides you with three distinct tremolo types. Read our Tremolo white paper and learn how we studied and captured these sonic details.

’61 Harmonic
’63 Power Tube
’65 Photocell

The ’61 Harmonic Tremolo is somewhat rare due to its very short period of availability in tube amplifiers in the early 1960s. It gets its signature sound through a dual-band filtering effect that alternately emphasizes low and high frequencies. The end-result is a soothing pulse that has shades of a mild phaser effect combined with tremolo due to the nature of the frequency bands that are alternated.

The ’63 Power Tube Tremolo utilized the LFO signal to directly influence the power tube bias of the amplifier’s push-pull output stage. The power tubes are biased into lower and higher idle currents, creating the fluctuating gain that produces the tremolo effect. The effects of crossover distortion at low tremolo volumes, increased power tube harmonic distortion at maximum tremolo volumes, as well as the influence of power-supply sag, all add up to the boggy and dirty nature of this tremolo circuit.

The ’65 Photocell Tremolo is a faithful recreation of the classic photo-trem circuits found in mid-1960s American amplifiers. Those classic circuits used a light-dependent resistor to attenuate the input signal, coupled with a miniature neon bulb that is connected to the LFO. As the LFO oscillates, the bulb gets brighter and dimmer which in turn varies the resistance of the LDR. The varying resistance works with other circuit impedances to change the signal level, which produces a characteristically ‘hard’ sounding tremolo that moves between two levels, reminiscent of a square wave.

Reverb Types

Flint gives you three unique reverb types. Read the Flint reverb summary for in-depth details on these reverbs.

The ’60s Spring Tank Reverb is our faithful recreation of the full-size two-spring tank that was commonly used in vintage amps. The two-spring tank uses spring segments of differing delay times, which adds to the complexity of the reverberated sound. Contributing greatly to the sound are the input and output tube circuits which convert the electrical guitar signal into a mechanical signal and then back to an electrical signal.

The ’70s Electronic Plate Reverb pays homage to one of the earliest digital reverbs ever created. The astounding hardware-based algorithm used multiple delay-lines configured in parallel, with each delay featuring multiple output taps and filtered feedback paths. The result is a rich, smooth reverb with a very quick build-up in density due to the summation of the many parallel output taps.

The ’80s Hall Rack Reverb is our rendition of the now nostalgic digital microprocessor rack reverbs from the late ’80s. The limited processing power of the day led to the implementation of efficient regenerative series loops of all-pass filters, delays, and low-pass filters. Modulating delay lines were used to increase the reverb density and add warmth. This reverb provides the signature sound of distinctive early reflections followed by the slowly-building density of the late reverberation.

More Features

Expression Pedal Input
Individual Bypass
TRS Stereo

This multi-function input can be configured for use with anexpression pedal, external tap tempo footswitch, or Favorite switch. Set up for an expression pedal and you get assignable expression control over any front-panel knob parameter. Set up for an optional external tap switch and remotely tap in your tremolo speed. Set up for our optional Favorite switch and save a favorite preset.

Separate bypass footswitches allow you to bypass the tremolo and reverb individually.

We know that there are some out there that like to run stereo rigs. This is why we’ve added the option of running your Flint in stereo. Flip a jumper inside your pedal, use a TRS splitter cable, and now you’ve got yourself a stereo pedal.

Features and Specs

Sound Design
Ins, Outs, Switches
Audio Quality
More

Three hand crafted tremolo algorithms faithfully deliver classic tremolo experiences:
’61 Harmonic Tremolo, ’63 Power Tube Tremolo, ’65 Photocell Tremolo
Three distinct reverb algorithms:
’60s Spring Tank Reverb, ’70s Electronic Reverb, ’80s Hall Rack Reverb
Two tremolo adjustment and tone shaping knobs: Intensity, Speed
Three reverb adjustment and tone shaping knobs: Decay, Color, Mix
Four “hidden” knobs for extensive tone tweaking:
Tremolo Boost/Cut, Reverb Boost/Cut, Effect Order, Tap Subdivision

High impedance mono input (internal jumper enables selectable TRS stereo input)
Stereo output
Tremolo Bypass and Reverb Bypass footswitches
Expression pedal input allows the connection of either an expression pedal (for selectable control over any knob parameter), external tap pedal (for remote tap tremolo), or Favorite switch (to save a Favorite preset)

Super low noise, high performance 24-bit 96kHz A/D and D/A converters
115db typical signal to noise
+8dBu maximum input level easily handles instrument and line signals
20Hz to 20kHz frequency response
Premium analog front end and output section
Analog dry path (when Reverb only is engaged)
Super high performance DSP in a compact form factor
32-bit floating point processing

True Bypass (electromechanical relay switching)
Selectable “trails” mode with high quality Analog Buffered Bypass
Adjustable +/- 3dB boost or cut when effect is engaged
Powered with a standard 9V center negative DC supply, 250mA minimum
Strong and lightweight black anodized aluminum chassis
Crafted with love in the USA

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STRYMON EL CAPISTAN

We’ve made some improvements!
El Capistan now includes a selectable TRS stereo input as well as non-click footswitches. Read more here.

Read the dTape™ technology white paper and learn how we studied and captured every tape echo nuance in El Capistan.

“One of the most ambitious and clever applications of DSP we’ve seen in a stompbox.”
– Premier Guitar

Dirty multi head. Multi Head, Mode B. Running into an amp with a touch of drive. Tape Age and Tape Crinkle set to 75%. A hint of Spring Reverb is added as well.

Download the user manual

Magnetic Monster.

When we decided to develop an effects pedal that delivers the sound and feel of our favorite tape echo machines, we knew we must relentlessly study and faithfully recreate every last nuance. We spent months in the Strymon sound design labs with an intense focus on capturing the warm, saturated, distinctive qualities of tape echo machines. The result is our hand crafted dTape™ technology. Utilizing a ridiculously powerful SHARC DSP, every drop of processing power is harnessed.

El Capistan provides three different tape machine types in one, each with three unique modes. With ten parameters to tweak, you get extensive control over tape quality, machine health and tone shaping. Go from the sound of a pristine, studio-quality tape machine to the heavily fluctuating sound of a machine in need of service. Get the full bodied sound of fresh tape all the way to the gnarled qualities of worn out tape. Because it’s DSP driven, you get a range of tape experiences unattainable with a traditional tape machine. All of this without the headaches of tape machine maintenance and repair!

Tape Machines and Modes

El Capistan has three distinct tape machine types, each with three separate modes.

Time knob varies the tape speed while the playback head is fixed in position.

A – short delay with 1/16th note tap tempo
B – medium delay with dotted 1/8th tap tempo
C – long delay with 1/4 note tap tempo

2 of 3 playback heads are selected at once. Time knob varies tape speed.

A – Heads 1 & 2 selected.
B – Heads 2 & 3 selected.
C – Heads 1 & 3 selected.

Tape speed is fixed while the Time knob varies the position of a sliding record head.

A – Tape motor at double speed. Higher fidelity with shorter delay times.
B – Tape motor at normal speed. Lower fidelity with longer delay times.
C – Sound on Sound mode with instant tape splice, bulk erase, and two tape speeds. A tape-style looper!

Features and Specs

Hand crafted dTape algorithms deliver meticulous and nuanced recreations of tape echo systems.
Three tape machines in one: Fixed (one fixed playback head), Multi (multiple playback heads), and Single (sliding record head)
Each tape machine has three modes for extremely flexible echo options
Five tape adjustment and tone shaping knobs: Time, Mix, Tape Age, Repeats, Wow & Flutter
Five “hidden” knobs for extensive tone tweaking: Tape Crinkle, Tape Bias, Low End Contour, Spring Reverb, +/- 3dB Boost/Cut
Sound on Sound mode with instant tape splice and bulk erase. A built-in tape-style looper!

Stereo output
High impedance mono input (internal jumper enables selectable TRS stereo input) Pleaseread this FAQ for more info on the TRS input.
Expression pedal input with selectable control over any knob parameter
Connect our optional Favorite switch to save a favorite preset
Tap Tempo and Bypass footswitches

- Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters
- 115dB typical signal to noise
- Analog dry path for a zero latency dry signal that is never converted to digital
- Premium analog front end and output section
- Super high performance DSP in a compact form factor

True Bypass (electromechanical relay switching)

Selectable “trails” mode with high quality Analog Buffered Bypass
Press and hold Tap for instant infinite repeats
Powered with a standard 9V center negative DC supply. 250mA minimum
Strong and lightweight gunmetal gray anodized aluminum chassis
Crafted with love in the USA

Video Demos

Sound on Sound

Just like one of our favorite moving head tape echo machines, El Capistan gives you a Sound on Sound mode, but with some cool new features. When you enter the mode (Single Tape Head, Mode C), the machine is already recording, just like a traditional tape echo machine. We go several steps further by giving you instant tape splice and bulk erase functions. It’s like having a built-in tape-style looper!

To set the length of your tape, press Tap once to set your splice ‘in’ point, and press Tap again to set your splice ‘out’ point. All of the tone shaping knobs are active and affect your loop as it plays back and re-records. Press Tap a third time to completely erase the tape. You get 20 seconds of tape in slow speed, 10 seconds in fast speed. Check out our video demo below.

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STRYMON BRIGADIER DELAY

We’ve made some improvements! Brigadier now includes a selectable TRS stereo input as well as non-click footswitches. Read more here.

“Brigadier is capable of recreating every nuance of an analogue delay with none of the drawbacks.” – Guitarist Magazine “There are lots of analog delay modelers on the market, but most of them don’t provide the feel of playing a true analog delay. The Brigadier nails it.” – Premier Guitar

back view of the Brigadier dBucket delay

Sound Clips Below are sound clips played by our resident Sound Designer, Pete Celi. Signal path: Damage Control Demonizer » Brigadier » PC audio interface.

Clock generation and feedback.

Medium delay mode – repeats set for oscillation – a short G minor chord played into the delay, and then playing with the delay time to showcase the clock generation and feedback

Lead tone.

Delay in short mode, medium repeats setting to add depth to a lead tone

Bucket loss.

Delay in medium mode – first part is no bucket loss, then medium bucket loss, then full bucket loss to showcase the dBucket and companding technology

Oscillations.

Delay in short mode. No guitar plugged in, just repeats turned up to max and tweaking delay time to show the responsiveness and sound quality of the’maxed out’ oscillations. At the end, I turn down the repeats, and crank them back up by using the tap footswitch held down, and I do this a couple of times.

Bucket depth.

Moderate bucket loss with moderate modulation added to showcase the depth of the bucket with proper companding and clock generation.

Clarity and warmth.

Single repeat delay with modulation and no bucket loss to showcase a U2-like rhythm with clarity and warmth.

Brigadier dBucket Delay user manual icon for Brigadier User Manual

Destroying the Analog / Digital Divide. In setting out to design Brigadier, we decided to take a super-powerful SHARC DSP and dedicate all of it’s horsepower to doing one thing and one thing only—delivering the best analog bucket brigade sound ever. We’ve utilized every last drop of DSP power, allowing Brigadier to deliver every minute detail and nuance that makes an analog delay special. Our hand crafted, processor-intense dBucket algorithm delivers all of the sonic complexities of analog bucket delays. No stone has been left unturned. Brigadier gives you all of the tone and none of the noise of regular old bucket brigade chips, unless of course you choose to add it back with our exclusive Bucket Loss control! Go from warm and clean repeats all the way to noisy, saturated delays. Couple that with dedicated modulation and filter controls, tap tempo, and assignable expression pedal input, and you have yourself a versatile delay powerhouse. Features and Specs

Hand crafted dBucket algorithm for highly accurate reproduction of every stage of an analog bucket brigade chip and the associated clock driver circuitry
Bucket Loss control to vary the amount of loss that occurs at each stage of the dBucket
3 delay time modes: Short, Medium and Long
Tap Tempo modes for quarter, dotted eighth, and eighth note triplets
Filter control for adjusting the tone of the delay repeats
Dedicated modulation control

Video Demos

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VISUAL SOUND CS 6

Dimensions

88 x 160 x 31mm (3.46 x 6.30 x 1.22″); 590 grams (1.3 lbs.) – weight and dimensions of power supply only, not including cables or packaging.

Input Voltage

The 1 SPOT Pro CS6 can be used anywhere in the world without the use of a step-up or step-down transformer. Like our 1 SPOT, it transforms wall voltage from 100-240Vac, and converts it into the stated voltages on the bottom of the unit.

Available Output Voltages

Outputs 1-2: 9VDC (500mA)
Outputs 3-4: 9VDC or 18VDC (100mA)
Outputs 5-6: 9VDC or 12VDC (200mA)

Cables

The 1 SPOT Pro CS6 includes a generous assortment of cables and converter plugs. The cables are of various lengths, color-coded for easy cable management and with right angle plugs on the pedal end.

Power cables (all are center pin negative polarity):
1) DC26(5.5×2.1mm barrel plugs; 26″ (660mm) Purple
(1)Â DC22 (5.5×2.1mm barrel plugs; 22″ (559mm) Blue
(1)Â DC18 (5.5×2.1mm barrel plugs; 18â€ (457mm) White
(3)Â DC12 (5.5×2.1mm barrel plugs; 12â€ (305mm) Yellow
(1)Â MC2 Two 5.5×2.1mm barrel plugs with 5.5×2.1mm input socket.

Converter Plugs:
(1) CL6 (5.5×2.1mm barrel input, 5.5×2.5 barrel output; reverse polarity)
Green for Line 6 DL4/M9/etc. and some Eventide pedals.
(1) CYR (5.5×2.1mm barrel input, 5.5×2.1 barrel output; reverse polarity)
Red reverse polarity converter
(1) C35 (5.5×2.1mm barrel input, 3.5mm male output; tip positive)
Black 3.5mm (1/8″) plug converter
(1) CBAT (5.5×2.1mm barrel input, Black battery clip output) Connects to battery clip wires inside pedals that do not have DC jacks. Do NOT connect to a battery!

Can the 1 SPOT Pro power my pedal?

That question can best be answered by looking at the following questions and notesâ€¦

Which output and settings do I use for my pedals?

It is important for you to know the power requirements for your pedal. For every pedal that you are going to power via the 1 SPOT Pro CS6, you need to know the following:

What is the voltage required by the pedal?
Does the pedal require AC or DC voltage?
What is the polarity of the pedal? (Center pin positive or negative.)

These questions can usually be answered by:

1. Inspecting the pedal itself near the power jack.
2. Referring to the owner’s manual.
3. Checking online, or contacting the manufacturer
4. If your pedal can be powered by a 9Vdc battery, it can be powered by one of the 9Vdc outputs ( an exception being the Boss ACA pedals, see below).

Notes on using certain pedals with the 1 SPOT Pro CS6:

Some older Boss pedals require 12Vdc, yet can be powered by a 9Vdc battery. They will indicate â€œUse ACA adaptorâ€ near the power jack. To power an ACA pedal please use outputs 5-6, and set to 12Vdc on the DIP switch for the corresponding output. Modern Boss pedals will indicate â€œPSA,â€ and can be powered by any of the CS6™s 9Vdc outputs.
Many germanium based fuzzes and Octavia-style pedals will require the use of the CYR adaptor to reverse the polarity to center pin positive.
For pedals with high milliamp draws such as Strymon, please utilize outputs 1 or 2 that produce 500mA each.
Eventide pedals such as the Time Factor and H9 may be powered by outputs 1 or 2 with the addition of the CL6 converter, for proper DC jack tip size and polarity.
Line 6 M5 may be powered by outputs 1 or 2.
Line 6 M9, and the modeling pedals (DL-4/MM-4), may be powered by outputs 1 or 2, and will also require the CL6 converter.
Line 6 Tone Core pedals may be powered by any 9Vdc output.
Line 6 POD or M13 cannot be powered by the 1 SPOT Pro CS6.
If more 9Vdc pedals need to be powered, an MC5 daisy chain (sold separately) may be plugged into any of the 9Vdc outputs depending on mA draw. For adding one more pedal, use the included MC2 cable.
Pedals that do not utilize a power jack, yet are powered normally by a 9Vdc battery, may utilize any 9Vdc output, along with the CBAT converter.
TC Electronic Nova pedals may be powered by outputs 5-6 in the 12Vdc position.
TC Electronic Classic and Tone Print series may be powered by any 9Vdc output.
Digitech Whammy: Versions 1-4 cannot be powered by the 1 SPOT Pro CS6. Version 5 or Whammy DT may be powered by outputs 1 or 2.
Radial Tonebone 15Vdc pedals can be powered by a 18Vdc output, using the Reverse Polarity Converter (CYR) included with the 1 SPOT Pro.
Note: Outputs can each handle more than the stated mA number. However, it is important to never exceed the max. current rating of all outputs simultaneously.

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VOODOO LAB PEDAL POWER 4 X 4

CIOKS BIG JOHN LINK

Big John link

Power Supply

The new CIOKS Big John link is a small sized yet quite powerful power supply for effect pedals with 6 outlets configured in 4 isolated sections. The first four outlets are divided in two isolated sections, which yield 100mA each and offer voltages 9 and 12V. The last two isolated high current outlets put out a max. current of 400mA each at voltages 9 or 12V.With no need of special cables outlets 5 and 6 will power pedals like the Eventides, tc electronic Nova, tc Helicon or the new tc Flashback X4 Delay, all Strymons incl. TimeLine and Mobius, Line6 M5, T-Rex Viper or Squeezer and many others. These two outlets are of course also able to power any standard 9V pedal or those which draw a medium current like BOSS DD-20 or CE-20, the digital ones from EHX like Freeze, Cathedral, Citar or the RingThing. When set to 12V outlet 5 or 6 will power the 4-button Line6 modeling pedal like ex. the DL4. If you don?t have any high current pedals but many of the standard 9V low current ones, you can power up to 6 pedals of outlets 5 and 6 by using the Split Flex or the 3-way daisy chain.The two isolated DC sections comprising of outlets 1-4 and providing 100mA each are able to power your low current 9V pedals. If you have more than four you can use the Split Flex or 3-way daisy chain.Having two isolated sections with 9 and 12V available you also have the possibility to power an 18 or 24V pedal using a Stack Flex or Series adapter Flexfollowed by a standard Flex cable. One of the four outlets must be left free. For low current 18 or 24V pedals you should consider using CIOKS Booster Flex where the high voltage pedal can be powered using only one outlet.

Courtesy AC mains outlet and link feature
This power supply, like the other two from CIOKS link range, features a courtesy AC mains outlet. The unique position of the courtesy outlet and the AC mains input allows you to link two or more units together by means of an adapter as shown on the pictures on the right. In this way you can power two or three power supplies just with one single mains power cord. You can combine different power supplies to obtain a custom power bank matching your specific needs. The courtesy AC mains outlet can of course be used for other purposes than linking products from CIOKS link range. The last unit in the chain will always have the courtesy outlet free to your disposition.

Pedal board mounting
Five threaded holes in the bottom of the power supply are positioned in a way to allow easy attaching of the unit to a pedal board. Especially with Pedaltrain boards both top and underneath mounting is possible using just two or three screws. All the needed parts are included. The only thing you have to do is to drill either two or three holes in the pedal board.

NEW!!!
Mounting of CIOKS link range power supply to a Pedaltrain pedal board is a step-by-step do it yourself guide on how to attach a link range power supply underneath a Pedaltrain pedal board. In case you’ve misplaced the product sheet of your unit, which also functions as a drill template, please download the drill template as pdf file here.

Features:

6 outlets configured in 4 isolated sections
two high current outlets with 400mA each
short circuit protection of all outlets
advanced LED monitoring of each section
120 or 230V mains voltage operation
detachable mains power cord
courtesy AC mains outlet
CIOKS unique mains link feature
9 Flex cables included
very easy mounting to pedal boards
durable steel enclosure with 2mm thick top

Specifications:
Outlet 1-2: 9 or 12V DC / 100mA
Outlet 3-4: 9 or 12V DC / 100mA
Outlet 5-6: 9 or 12V DC / 400mA each

Size: 130x88x39mm (excl. detachable rubber feet)
Weight: 1,0kg

Warranty period: 5 years worldwide

Order number:
BJ CIOKS Big John link – Power supply for effect pedals with 6 outlets

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CIOKS SCHIZOPHRENIC LINK

Schizophrenic link

Cioks – POWER SUPPLIES FOR EFFECT PEDALS

The new CIOKS Schizophrenic link is a small sized power supply for effect pedals with a versatility yet not seen in such a small unit. It has 6 isolated outlets and offers voltages 9, 12 and 18V with no need of special Flex cables. The first two outlets can be set to 18V, where the last two are configurable to 12V. If needed all 6 outlets will give you 9V DC in the default position of the settings switch with a total max. output current of 1.000mA.Outlets 1 and 2 can individually be set to either 9 or 18V. Each of these two will power any MXR/Dunlop pedal, which needs 18V, and most of the Pigtronix ones. The few Pigtronix pedals, which need more than 100mA @ 18V like PolySaturator, Disnortion or the FAT Drive, you can power by using outlets 1 & 2 the Parallel adapter Flex followed by a standard black type 1 Flex. All dirt pedals, which can take 18V and usually draw less than 100mA, can be powered by one of the outlets 1 or 2. These two outlets can of course also be used to power standard 9V pedals in the default setting.Outlets 3 and 4 delivering max.200mA at 9V DC are each able to power medium current draw pedals like BOSS DD-20 or CE-20, the digital ones from EHX like Freeze, Cathedral, Citar or the RingThing, tc electrinic Flashback X4 Delay and all the Strymons excl. TimeLine and Mobius just to mention a few. The last two outlets also put out max. 200mA each, but here you can individually choose the voltage for each outlet to either 9 or 12V. These two outlets, when set to the default 9V, will also power the pedals mentioned just before. In the 12V setting outlets 5 and 6 will each power one 4-button Line6 modeling pedal like ex. the DL4. You can power four medium current draw pedals at voltages 9 or 12V using CIOKS Schizophrenic link outlets 3-6.CIOKS Schizophrenic link is also able to power two high current pedals. Outlets 5 & 6 when usingwith Parallel adapter Flex will power one tc electronic Nova, tc Helicon or one Eventide pedal, when both outlets are set to 12V. Both Strymon TimeLine and Mobiuscan be powered with Schizophrenic link by using two Parallel adapter Flex and outlet pairs 3 & 4 plus 5 & 6 still having outlets 1 and 2 free for other low current pedals. Two Eventides, one Eventide and one Nova or one Strymon and one Nova or Strymon TimeLine and Mobius are also possible options.Older EHX pedals like ex. the Q-Tron, the Worm, Micro Synthesizer, Deluxe Memory Man or Electric Mistress, where the original adapter was unregulated 24V will be powered correctly with a series connection of 18V and 9V. You should use the Series adapter Flex followed by the green type 4 Flex connected to outlet 1 set to 18V and outlet 2 at the default 9V setting.Combining outlets 3 and 4 using the Series adapter Flex will give you enough current at 18V to power the older EHX POG or Holier Grail.Courtesy AC mains outlet and link feature
This power supply, like the other two from CIOKS link range, features a courtesy AC mains outlet. The unique position of the courtesy outlet and the AC mains input allows you to link two or more units together by means of an adapter as shown on the pictures on the right. In this way you can power two or three power supplies just with one single mains power cord. You can combine different power supplies to obtain a custom power bank matching your specific needs. The courtesy AC mains outlet can of course be used for other purposes than linking products from CIOKS link range. The last unit in the chain will always have the courtesy outlet free to your disposition.Pedal board mounting
Five threaded holes in the bottom of the power supply are positioned in a way to allow easy attaching of the unit to a pedal board. Especially with Pedaltrain boards both top and underneath mounting is possible using just two or three screws. All the needed parts are included. The only thing you have to do is to drill either two or three holes in the pedal boardNEW!!!
Mounting of CIOKS link range power supply to a Pedaltrain pedal board is a step-by-step do it yourself guide on how to attach a link range power supply underneath a Pedaltrain pedal board. In case you’ve misplaced the product sheet of your unit, which also functions as a drill template, please download the drill template as pdf file here.Features:6 isolated outlets with 9, 12 or 18V
two outlets configurable to 18V
short circuit protection of all outlets
advanced LED monitoring of each outlet
120 or 230V mains voltage operation
detachable mains power cord
courtesy AC mains outlet
CIOKS unique mains link feature
9 Flex cables included
very easy mounting to pedal boards
durable steel enclosure with 2mm thick top
Specifications:
Outlet 1-2: 9 or 18V DC / 100mA each
Outlet 3-4: 9V DC / 200mA each
Outlet 5-6: 9 or 12V DC / 200mA each

Size: 130x88x39mm (excl. detachable rubber feet)
Weight: 1,0kg

Flex cables included with CIOKS Schizophrenic link

3 x 1030
2 x 1050
1 x 1080
1 x 2050
1 x 5050
1 x 6050
Total of 9 Flex cables.

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Free The Tone PT 3 D Power Supply

Although it is light and compact, the PT-3D furnishes two completely independent isolated output terminals (9VDC/500mA) and six low noise standard output terminals (9VDC/100mA) and can power up to eight lines. The PT-3D’s isolated output terminals can supply current higher than 1A momentary required by some digital effectors on boot. After booting of the effectors, the PT-3D can stably continue to supply required amperage up to 500mA. This makes the PT-3D, which is designed to supply 9VDC, applicable to effectors requiring high capacity current (such as DigiTech ®　WHAMMY DT™/WHAMMY 5™, Eventide® TIME FACTOR/MOD FACTOR/PITCH FACTOR /SPACE, LINE6 ®　DL4™/MM4™/FM4™ , Strymon ®　TIMELINE/MOBIUS).

Features

•Like other PT series products, rigidity and lightness are attained by making the housing of Japanese-made aluminum alloy used in aircraft parts.
•Two completely independent isolated output terminals (9VDC/500mA) and six low noise standard output terminals (9VDC/100mA) can power up to eight lines.

•Each 9VDC output terminal is stabilized and powers the effector via the separate noise filter and short-circuit protection circuit.
•The noise level of the power from the low noise standard output terminal is greatly reduced by passing through the 2-step noise filter and the output voltage is set to approximately 9.8VDC in order to reproduce the condition of power being supplied from a brand-new battery
•The isolated output terminals can supply current higher than 1A momentary required by some digital effectors on boot
•Since the two isolated output terminals are completely independent each other and electrically insulated, no ground loop noise will occur. External digital noise via mains power supply lines are rejected.

Main Specifications

•2 x Stabilized 9VDC isolated output terminals (@ max. 500mA)
•6 x Stabilized 9VDC low noise standard output terminals (@ max. 100mA)
•Each output has a short-circuit protection circuit
•Dimensions (W x D x H, excl. rubber foot height): 120 x 55 x 35 mm (4.72 x 2.17 x 1.38 in)
•Weight: 190 g (6.7 oz)
•Accessories: 4 x 30-cm (11.8″) DC power cable, 4 x 50-cm (19.7″) DC power cable, 1 x AC adapter

NOTE
• The supplied DC power cables are not applicable to effectors from EVENTIDE or LINE6. Customers need to prepare suitable cables when using with such effectors.
• Proper basic operations on the products noted above (DigiTech®, Eventide®, LINE6 ®, Strymon®) have been confirmed by FREE THE TONE (as of November 11, 2013). However this does not guarantee full operation of each product.
• Due to modifications or minor changes that might be made by a manufacturer of those products after our confirmation, the above-mentioned products may no longer be compatible with the PT-3D. As a precaution, before connecting, be sure to confirm the power requirements of the device to be connected to the PT-3D.
• Company names and product names are trademarks or registered trademarks of their respective companies.

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VERTEX SCOTT HENDERSON VOLUME PEDAL

CIOKS EVENTIDE POWER FACTOR 2

PowerFactor 2

Power Supply

Eventide is a leading developer and manufacturer of digital audio processing products for recording, broadcast and live performance. Besides many other advanced products based on the algorithms used in more expensive rack units Eventide made stompboxes TimeFactor, ModFactor and PitchFactor, later followed by the SPACE and now the Eventide H9. All these five effect pedals draw a rather high current, where a powerful power supply with isolated outlets is needed to power two, three or maybe four of them along with other pedals you might have on your pedal board.As a co-branded product CIOKS has developed, manufactured and now released for sale the PowerFactor 2. It’s an upgraded version of the previous PowerFactor power supply, now with even more power and features compared to its predecessor. It features a toroidal transformer, selectable 120 or 230V mains input voltage, 8 isolated outlets with a total output current of 2.200mA at voltages 9 or 12V DC, all with an individual advanced LED monitoring feature and short circuit protection. It’s based on the same design idea as CIOKS recently released LINK range of power supplies with a courtesy AC mains outlet and the link feature described later on this page.The last four isolated outlets of the PowerFactor 2 are able to power four Eventide pedals of your choice. We recommend using 12V DC to power these and you should use the green type 4 Flex cables, where 4 of these are included in the box in different lengths. The last two outlets have a fixed 12V DC output voltage, where outlets 5 and 6 can be set to either 9 or 12V. For the Eventides please use the 12V setting.

The 400mA outlets can of course beside Eventides also be used to power other high current pedals. The most popular ones at this moment are Strymon TimeLine and Mobius, Line6 M5 and all tc electronic Nova and Helicon pedals. Other high current pedals, where a 200mA outlet is not adequate and a 400mA outlet should be used are: Electro-Harmonix 2880 or HOG, DigiTech Whammy 5 or DT, BOSS RC-300, Roger Linn Adrenalinn, Empress Effects Super or Tape Delay, T-Rex Room-Mate or Squeezer, FoxRox AquaVibe or MarkBass Distorsore just to mention some.

A few pedals needing 9 or 12V but where 400mA is not enough can be powered using two 400mA outlets in a parallel connection using the Parallel adapter Flex. That could be the Boomerang, most of MarkBass pedals, BOSS GT-10 or RC-50. Some pedals need 18 or even 24V and a high current and in these cases you can use two 400mA in a series connection using the series adapter Flex and power pedals like original EHX Holier Grail, the POG or Flanger Hoax, Hiwatt tube pedals, all new DC versions of Blackstar dirt pedals like the HT-Dual or HT-Drive.

A nice thing about the PowerFactor two are the two isolated medium current outlets 3 and 4. They yield 200mA each at voltages 9 or 12V. These two outlets are capable of powering pedals, where a standard 100mA outlet is not adequate, such as, most MoogerFoogers, many new Electro-Harmonix like the POG2, HOG 2, Cathedral, Ring Thing, Freeze or the older Holy Grail, all 4-botton Line6 modelers like the DL4, T-Rex Replica or Viper, BOSS double pedals like CE-20 or DD-20 or BOSS RC-30, ME-50 or ME-70, the big tc electronic Flashback X4 Delay and all Strymon pedals except the TimeLine and Mobius again to mention some.

The first two outlets with 9 or 12V at 100mA can be used for all battery operated, standard 9V low current pedals. In case of digital pedals ex. the new tc electronic TonePrint range like the Flashback Delay, Hall of Fame Reverb, Corona Chorus or the Ditto Looper, please use one outlet to power just one pedal. If you have some very low current dirt pedals like most overdrives or boosters, you can use Split Flex or the 3-way daisy chain to power two or three pedals using one single outlet.

Please write to support@cioks.com for assistance with correct powering.

Courtesy AC mains outlet and link feature
This power supply, like the ones from CIOKS link range, features a courtesy AC mains outlet. The unique position of the courtesy outlet and the AC mains input on the link range products allows you to extend the PowerFactor 2 with two or more power supplies from the Link range by means of an adapter. In this way you can power two or three power supplies just with one single mains power cord. You can combine different power supplies to obtain a custom power bank matching your specific needs. Say you lack an AC outlet on the PowerFactor 2, you can extend it with the AC Rider link and the two power supplies will be powered using just one mains power cord. The last unit in the chain will always have the courtesy outlet free to your disposition. The courtesy AC mains outlet can of course also be used for other purposes than linking products from CIOKS link range, say powering a single plug in adapter with the needed AC voltage. For this purpose you’ll need the Universal mains adapter.

Pedal board mounting
Seven threaded holes in the bottom of the power supply are positioned in a way to allow easy attaching of the unit to a pedal board. Especially with Pedaltrain boards, both top or underneath mounting is possible using just three or four screws. All the needed parts are included. The only thing you have to do is to drill either three or four holes in the pedal board.

NEW!!! Please have a look at this detailed step-by-step mounting guide on how to mount the PowerFactor 2 onto a Pedaltrain pedal board. One of the things you’ll need is the drill template, which you can download here.

Features:

8 isolated outlets with 9 or 12V
a total output current of 2.200mA
toroidal transformer
four high current outlets with 400mA each
two medium current outlets with 200mA each
two outlets for standard battery operated pedals
short circuit protection of all outlets
advanced LED monitoring of each outlet
short circuit protection of all outlets
advanced LED monitoring of each section
120 or 230V mains voltage operation
2m length, detachable mains power cord
the more common IEC C14 inlet as mains AC input
courtesy AC mains outlet
CIOKS unique mains link feature
a total of 14 Flex cables included
very easy mounting to pedal boards
durable steel enclosure with 2mm thick top

Specifications:
Outlet 1-2: 9 or 12V DC / 100mA each
Outlet 3-4: 9 or 12V DC / 200mA each
Outlet 5-6: 9 or 12V DC / 400mA each
Outlet 7-8: 12V DC / 400mA each

Size: 219x88x40mm (excl. rubber feet)
Weight: 1,5kg

Warranty period: 5 years worldwide

Order number:
PF2 PowerFactor 2 – Professional power supply for effect pedals with 8 isolated outlets

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