The Binary Pulsar is a sidechainer/panner/tremolo pedal, all digital - but with an analog ‘warm’ circuit. In another of our custom enclosures, it’s designed to be floor or desk mounted.It’s our first stereo pedal, the stereo version (inputs and outputs) of the discontinued Deep Space Pulsar, and it can do a 16s pulse from a 4s input, or even 32nds!It’s highly adaptable. Syncs with CV/gate signal from modular synth set-up, or with the Rainger FX Snare Trap, or runs on internal tap tempo (the DSP’s Igor controller pad now incorporated into the pedal itself), or can be triggered with a mic (not supplied) - or a drum machine voice output.CONTROLSTop end panelMIC; This is the external mic input socket which can trigger the pedal from any fast attack sound. The socket accepts XLR or ¼” inputs.SYNC; Plug in external triggers here from the Rainger FX Snare Trap, or a modular synth gate control signal.IN left & right; These are the stereo 1/4” inputs, or just use ‘left’ if it’s a mono sound source (gets processed into stereo). Or two separate mono instruments can be plugged in, and each will go to its own amplifier via the appropriate output.WARM switch; This activates an analog ‘warm’ circuit, adding a gentle overdrive to the output while rolling off some high-end, and adding middle.OUT left & right; These are the stereo outputs. If you’re using the Binary Pulsar in mono, both outputs are summed and sent to the left output.DC in; The Binary Pulsar is powered by a standard 9v effects pedal power supply, plugged in here. Power consumption isMain front panelVOL; This knob adjusts the overall volume.HOLD; Labelled ‘DIP’ on the old Deep Space Pulsar, this control decides when dipped, how long the signal stays dipped for. If the hold knob is turned down low enough, the volume may not have time to fully dip down in the first place, so - with some release time added (turn REL up) - you can hear what seems like a shallower dip.REL; With the same name on the Deep Space Pulsar, this release control adjust the length of the rise up to previous level when the signal recovers after the dip.WIDE; This delays the right side signal only. When turned slightly it puts the left and right sidechaining out of sync - which has the effect of turning a mono dip into a stereo one. As the knob is turned further, this can turn a ‘16s’ pattern into a ‘32nds’ one, and turning further into a swing feel pulse.RES; At fully CCW this knob has no effect, but as it’s turned some resonance is slowly added to the pedal’s outputs - becoming very synthy and squelchy as it approaches the far end of travel.DIST (knob); This adjusts the volume of the digital distortion effect. Footswitch; This turns the Binary Pulsar on and off. It’s a digital bypass (buffered).INV; This pushbutton inverts the sidechain dip into a pulse - momentarily jumping up from silence.½ INV; This switch inverts only one side of the outputs, giving a strong and dramatic stereo effect.DIST (pushbutton); This changes the function of the rubber pad below it. With the switch out, the rubber pad is used to input tap tempo. With it in, it changes the pad’s action to adding momentary distortion (with a bit of flanging) to the output. Press and hold the pad for three seconds and the distortion latches on (or latches off).8s; This doubles up a 4s input to 8s.16s; This quadruples a 4s input to 16s. Press in both the ‘8s’ and ‘16s’ switches and you get ‘12s’. Turn the ‘WIDE’ knob to halfway and you get 32nds - split between the two outputs.WHITE LEDs; The first one (10mm) is the main ‘on/off’ indicator. The other two are ‘left’ and ‘right’, and flash according to how the signal processing controls are set. It’s a visual indicator of the length of the release ‘REL’, and the amount of right-side delay ‘WIDE’.The pad; Use this to either program the internal tap tempo, or to momentarily switch the internal distortion on (according to how the ‘DIST’ switch is set…. See above).Using the tap tempoIn tap tempo mode (‘DIST’ switch not illuminated), hold down the pad for a long second to cancel any previous tempo. Then tap once (L & R LEDs stay on to show it’s in record), then a second time, and the tempo is programmed and marches off. The tap tempo is correctible; if you’re trying to sync manually with an external track (eg a DJ), at any point you can tap once again if it starts drifting out of sync. Or as many times as you want until it sounds right. To make a big change to the tempo you need to cancel it and start again (hold down the pad until the white LEDs stop flashing).NOTE* The pedal has no ‘mix’ control between left and right outputs; if necessary adjust this externally.* The ‘Hold’ and ‘Rel’ controls are designed to mimic the Deep Space Pulsar controls exactly. * With the Binary Pulsar, all useful kinds of sidechaining are possible - from subtle groove-inducing dips, to massive NY Freestyle stereo patterns!* If two instruments are plugged in - one in the left input, one right - their separate-ness is preserved through the Binary Pulsar; the left one comes out of the left output, the right out of the right.* It draws 165mA.

The Chop Fuzzz is an uncompromising all analog, full-on gated fuzz pedal - with a whole bunch of interesting ways of manipulating the signal. It’s the latest installment in the Dr Freakenstein dynasty!!!It’s actually a very specific kind of multi-effects pedal; as well as fuzz, it has two types of modulation, a pressure-operated expression pedal (to do wah wah-like effects), a tunable drone facility - capable of ring modulator tones - and a noise gate.FUZZ -The fuzz circuit is the same massive distortion one used in the very original Dr Freakenstein Fuzz (plus the three versions that followed, and the first Dr Freakenstein Chop Fuzz, and the six minipedal versions). It’s incredibly loud, with a ton of low-end, and searing highs available.Yet it’s weirdly quiet when you’re not playing.The ‘OVERTONE’ control - This is like a wah wah with the tone of an extreme phaser. Set it using the knob, or manipulate it in real time by foot with our Igor pressure pad controller (supplied).The ‘LFO’ section - This modulates the signal in a slightly more ‘3D’ way than the ‘overtone’ sound. Moving in a triangle waveshape, the speed can be set using two knobs. ‘Slow’ has a low speed range - for long, slowly-twisting cycles right up to fast wobbles, while the second one - ‘fast’ - is in the audio range; tune it in to a specific pitch (across several octaves) underneath the notes or chords that you’re playing.Toggle between these two on-the-fly with the footswitch.‘CHOP’ - The Chop Fuzzz has a hard squarewave tremolo built-in. When locked-on, in combination with the ‘LFO’ section it can create all kinds of slowly sweeping helicopter effects, or fast, bubbling synthy-sounds.Or flash it on and off at specific points for a chop accent using the Igor controller.What else? • It has a ‘Hi/Lo’ intensity switch. • It can be controlled using 5v CV by sequencer or modular synth. • There’s a spooky ‘eye meter’, showing the input signal level, but also - using backlight illumination - the LFO and ‘Chop’ operation and Hi/Lo setting. • The LFO and Chop switches light up - for extra clarity and LED thrillpower! • Both the desk-style enclosure and the knobs are custom Rainger FX designs. • The pedal is true bypass.The Chop Fuzz is easily the most advanced Dr Freakenstein pedal we’ve produced.An extreme pedal for extreme sounds.

Bei dem Drone Rainger handelt es sich um ein digitales Delay mit Dub-Geschmack (basierend auf unserem Echo-X-Delay-Pedal), das auch tiefe, pochende Drones erzeugt, die ebenfalls über die Delay-Schaltung gemischt werden können. Wenn Sie Shoegaze, Doom/Heavy/Psychedelic Rock oder Ambient-Musik spielen, ist es die "Waffe" um einen kräftigen Grundton zu erzeugen. Aber auch für andere Musikstile und Bandkonstellationen ist das Drone Rainger Digital Delay ein hervorragendes und vielseitiges Werkzeug um Ihrem Sound eine ganz neue Fülle zu geben.Das Gitarrensignal und das Drone-Signal werden unabhängig voneinander durch den selben Verzögerungsschaltkreis gemischt (ca. 1 Sekunde maximale Wiederholungszeit), wobei eine Umschaltung zum völlig trockenen Gitarrensignal jederzeit möglich ist. Im Inneren des Drone Rainger befinden sich tatsächlich zwei analoge Tongeneratoren die den einzigartigen Klang erzeugen. Einer mit einem 12-Wege-Wahlschalter, der andere frei beweglich - sodass, wenn sie fast gleich gestimmt sind, interessante "Beats" zwischen den beiden erzeugt werden. Mischen Sie sie mit dem "Mix"-Knopf nach Belieben.Extra Fußschalter:Die Drones haben auch zwei Soforteffekte, die mit einem Fußschalter während des Gitarrenspiels zugeschaltet werden können; einer davon ist ein "Tone-Down"-Effekt, bei dem die Tonhöhe auf eine wahrhaft unheilvolle Weise absackt! Der andere ist ein "Pitch-up"-Effekt, der die Tonhöhe eines Tongenerators viel höher ansteigen lässt - so dass 2-Ton-"Akkorde" leicht möglich sind.Es ist auch möglich das Pedal so einzustellen, dass zwei separate Noten erzeugt werden - und während des Spielens zwischen den beiden umzuschalten, was äußerst nützlich ist, wenn der Song den Sie spielen einen Abschnitt mit einer anderen Grundnote oder einen Tonartwechsel hat. Und wenn Sie zu einer Musik spielen die nicht streng auf die Tonhöhe gestimmt ist, können Sie sich mit dem "Feinstimm"-Regler des Pedals anpassen.Wie alle unsere Stompboxen ist sie in einem speziell entworfenen Gehäuse untergebracht. Das Fenster in der Hauptfrontplatte ist ein Fenster in die Seele des Drone Raingers.Dies ist in vielerlei Hinsicht ein wirklich einzigartiges Pedal, das als eigenständiges Instrument gespielt werden kann.Hinweis: Das Pedal hat nicht den im Original gezeigten Effekt des weißen Rauschens. Da dies sehr schwer zu kontrollieren war (es war extrem laut und seine Lautstärke war an den Verzögerungspegel gekoppelt), wurde es durch den momentanen Tonfall "Tonhöhe hoch" ersetzt.

Break Box is a deceptively simple distortion pedal, with active sustain, and a record scratch trigger facility! Using their original El Distorto overdrive circuit, they’ve added the back half of a Tonebender circuit to end up with a deeply satisfying high intensity gain stompbox with colossal low end, plenty of mids a less ‘scooped’ sound than a Tonebender and searing highs.And yet it’s incredibly quiet, noise-wise; when not playing, a noise gate quietly shuts off the hisses and buzzes you’d normally associate with this much drive.About one second after the initial note attack, a chorus effect fades in adding a spatial element to the sound; from the up close chunk of the basic tone, it blooms into a room-like ambience. The speed of this chorus is adjustable, from a slowly churning grind to a fast psychowobble, and as this is added to the main sound it actively adds sustain; there’s a slight but noticeable building of the volume, with an excitement like a wave pushing you forwards...To introduce this mighty sound to your audience, you can press and hold the turntable pad and turn your guitar into a trigger for a record scratch sound, like a DJ cueing up the guitar track that follows! The pitch/speed of this can also be controlled from a slow, hip-hop scratch to a fast, manic flick of the deck. The scratch itself is generated inside the pedal itself (not a recording). A slight random pitch variation keeps it sounding less ‘sampled’ and more human.This unique distortion pedal includes...• Focussed, tonally wide, high energy rock distortion sounds• Tasty chorus swells on every held note and chord• Over-the-top volume levels• An unobtrusive noise gate – keeping things totally silent when they should be• An amazing vinyl record scratch facility – guitar triggerable• Hi/lo trigger sensitivity button• Another Rainger FX custom asymmetric enclosure – with all top panel sockets

Das Rainger Echo-X ist ein digitales Echo-Minipedal, das eine noch nie dagewesene Echtzeitkontrolle über die wichtigsten Parameter bietet.Es wird mit einem Igor-Controller geliefert, mit dem die Echo-Geschwindigkeit und die Wiederholungen einstellt werden kann. Er kann auch als "Send"-Regler fungieren: während Ihr Ton trocken ist, wird das Signal, wenn Sie auf den Igor drücken durch den Schaltkreis des Pedals umgeleitet. Wenn Sie Igor freilassen, spielen Sie trocken weiter, während die abgelenkten Töne von selbst widerhallen... Eine unglaublich nützliche und ausdrucksstarke Eigenschaft für den täglichen Gebrauch!Spezifikationen:Das Echo-X verfügt über eine Verzögerungszeit von 550 ms und verfügt über Regler für Pegel, Rate, Feedback, Eingang und Lautstärke. Der "Pegel" geht von "kein Echo" bis zu etwas lauter als das Eingangssignal. Die "Rückkopplung" geht inzwischen von einer einzigen Wiederholung zu einer unkontrollierbaren Rückkopplungsschwingung über.Input' regelt das Eingangssignal. Wenn dieses zu stark ist, leuchtet die rote 'Overload'-LED auf und muss in diesem Fall heruntergedreht werden bis die rote LED erlischt. Mit dem Lautstärkeregler kann die Lautstärke dann wieder nach oben geregelt werden.Das Echo-X ist in einem Rainger FX Mini-Pedalgehäuse untergebracht, das 0,5 mm schmaler als ein Standard-Mini-Pedalgehäuse ist. Alle Buchsen sind an der oberen Gehäuseseite montiert. Igor-ControllerIgor ist ein kleines, leichtes, druckempfindliches Pad, das als Impulsgeber oder Schalter dient und ist per Fuß oder mit der Hand bedienbar. Es wird in eine Mini-Klinkenbuchse an der oberen Gehäuseseite eingesteckt.

The Flanger-X is a flanger pedal, designed to provide anything from a slight chorus through to a huge sweeping modulation - with the Igor pressure-sensitive controller able to adjust the modulation speed.It’s digital, but features an analogue sound reproduction of a space rocket launch, as it burns through the atmosphere heading to space! This is envelope-controlled, or on all the time, or just in specific bursts whenever you press Igor.CONTROLS:FLANGE; this controls the amount of the flanging effect.RATE; this controls the speed of modulation, going from stationary through to very fast.ROCKET; this knob adjusts the amount of rocket noise, going from none to very loudVOL; this adjusts the instrument volume.FBK; turn this to increase the amount of twangy fast echo repeats.ON/OFF footswitch; this engages or disengages the Flanger-X (true bypass).IGOR pushbutton switch; this changes the function of Igor from modulation speed increasing, to adding a burst of rocket noise.ENV pushbutton switch; this changes the rocket noise from following the envelope of the instrument signal, to being constantly on.About Igor:Igor is a pressure-sensitive controller pad. Lean on it to change the sound in real-time as you play! It has dual-sensitivity; use it shiny side up if you’re standing, with shoes, or on carpet. For more sensitivity use it rubber side up.About the rocket noise:This is internally generated, and is carefully shaped to have all the 3-D detail of the actual thing, muffled cracks and pops over a huge low roar. At full ‘rocket’ setting, part of the sound is from overloading the input of the digital flanger circuit, creating the final texture of the intense distortion. This means that the ‘PEAK’ LED will probably come on at this point (which is fine and does no harm).When ‘rocket’ is turned down, the circuit stops being overloaded and the rocket seems to move into the distance...The envelope-controlled rocket noise actually has most of its low-end filtered away, to keep out of the way of the main tone of the notes you’re playing. The constantly-on rocket is full-frequency.NOTEThe Flanger-X needs a regular 9v pedal power supply (centre earth, ring ‘+’), and consumes about 80mA.

The Pull Focus is a high gain distortion pedal, with either a reverb or chorus effect fading in after a short while. It has a noise gate too, which unobtrusively keeps the pedal silent when you’re not playing.  The distortion is all analog, the reverb and chorus are digital.  It’s a multi-effects pedal, of a very particular kind….DistortionThe distortion is made from our favourite overdrive circuit, but going into the back end of the Tonebender circuit that we made for Colorsound when we did our collaboration on their Freakenbender pedal a while back. We worked hard to make it as balanced, versatile, powerful and silent as possible, ending up with an incredibly satisfying chunky tone. Full-range, not very scooped, tonally.There are ‘volume’, ‘tone’, and ‘gain’ controls.Fade InDeveloped originally for our Break Box pedal, the Pull Focus has the same delayed fade-in for the chorus effect - but with an adjustable fade-in ramp; with the ‘ramp’ knob fully CCW the effect is in all the time, but as you start to turn it the effect takes a short while (less than a second?) to appear after the pick attack. As you turn it more, this delay time gradually increases - to around eight seconds maximum, until at fully CW it never actually comes in at all, ie in practice you can turn off that effect totally if you only want distortion.Chorus Or ReverbPress the ‘effect’ switch and the chorus sound is replaced by a spectacular digital reverb effect!So with lots of short notes (eg fast soloing) the guitar is totally dry all the time, but intense and powerfully distorted. But play a long note or chord and it blooms into a huge spatial thing; all your long bent notes automatically grow into massive, swooping sounds, full of emotion and with the ambience of a hall-sized reverb! It’s incredibly fun and dynamic to play through!However with the next note you play it dramatically snaps off hard - back to totally dry, close, and focussed. So the listener’s attention is drawn from up-close and in-your-face to a more distant reverbed sound - and then back; just as in film-making, a ‘pull focus’ leads the viewers attention from a face close by (a further-away face being blurred) to a face further away (the close-by one now being blurred).The Pull Focus pedal is a very ‘3D’ effect, your guitar automatically moving from near to far away in an original and exciting way.There’s a dual-purpose ‘effect’ knob, which - when using chorus - adjusts the speed of the modulation. When using reverb though this knob decides the depth and size of the reverberation. This goes from a cavernous effect right down to an almost-not-there small room-y thing; great for when you don’t want the obvious reverb mushroom cloud, but you’d like your long-held notes to seem…. somehow extra profound! But in a way that the audience may not even consciously register…Active SustainThis fading-in of the secondary effect is actually ‘active sustain’, a definite increase in your guitar signal level - as opposed to the usual dying away. On the chorus setting, this feels like a churning wave coming from behind to lift you forwards.  With reverb it’s a monster growing out of your guitar!The chorus speed goes from a very slow twist (think Jane’s Addiction/Smashing Pumpkins double-tracked?) through a mid-tempo obvious modulation (Bowie’s ‘Lodger’?) up to a fast psychotic wobble (Devo? Spongebob/Peewee Herman??)There’s an on/off status LED, plus a large ‘ramp’ LED - which gives a visual indication of what’s going on sonically.There’s a ‘quiet guitar boost’ switch - to ensure the noise gate and pick detection circuits work great whatever kind of instrument you’re using.It’s true bypass, and housed in another deeply cool Rainger FX custom enclosure. Desk-style, a slight flare to it, and symmetrical - to help all our OCD musician friends.

The Razor Fuzz is an intense, spitty, gated fuzzbox, with a ‘virtual plectrum’ facility; choose which one of four virtual plectrums you’d like to use!FUZZThe fuzz circuitry is all analog - our own original circuit - and designed to be really fun to play through. For a very high gain circuit it’s surprisingly quiet when you don’t play, and is relatively uncompressed - and cleans up significantly when you roll your guitar’s volume down.The ‘extra’ switch gives some extra gain to the fuzz, and adds a dash more hi-mid, with less bass.PICKElectric guitarists are notoriously obsessive about every aspect of their sound - not least the type of plectrum they use, and often this colours the attack of the note itself. We decided to investigate this further - in a digital, non-physical way…Our pick-detection program has gone through many phases, and started with our Break Box pedal, progressing with the Pull Focus, and now to the Razor Fuzz (BTW each Break Box and Pull Focus we make now is updated with the latest code).It’s great at noticing each picked note or chord, and has very little latency.NOTE: if you roll down the guitar’s volume the Razor Fuzz pick detection may start to miss a few notes.WHAT’S AVAILABLEThe digital plectrums on offer are ‘sandpaper’ (a short white noise pulse), ‘metal’ (sounds like playing with a metal pick - but is a tiny burst of a simple tone, randomly changing), ‘metal long’ (the same as ‘metal’ but with a long decay), and ‘1-note’ (the same as ‘metal long’ but with a constant - tuneable - pitch).NOTE: with the ‘plectrum volume’ knob all the way CCW the virtual plectrum part is totally silent. With it all the way CW it’s extremely noticeable.‘Sandpaper’ adds extra impact to low Metal-style chugged chords, and more attack to single notes.Think Brian May’s sixpence coin plectrum on steroids.‘Metal’ is like false ‘pinched harmonics’ - turns a hi-gain fuzz solo into Hair Metal ‘25. Adds a sparkly Techno attack to each note.‘Metal long’ adds a slightly mad edge to everything; mixed together with single notes gives a random ring modulator effect. Random thumb piano?‘1-note’ tuned to the song’s key adds that note to everything you play - a pedal note over the top of a chord progression, a root note harmony to a lead line.‘Metal long’ and ‘1-note’ give an overall impression of a piano player playing along with you, in a random/rock’n’roll Mike Garson (Bowie pianist) kind of way!!!!

London, UK – December 1st, 2021 – Rainger FX have solved the problem of detection by enemy radar, with the launch of the DFST-1 (Stealth) distortion pedal. Based on their Dr Freakenstein full-on distortion circuit, it’s an extreme fuzz pedal with two main modes of working; either with an envelope-shaped overtone, or a variable speed overtone modulation – but in a step cycling configuration.The envelope mode reacts to the incoming signal envelope, and gives extremely vocal tone stings that dive down to a Geiger Counter crackle, or sustain in a resonant howl – all with ultra quietness in between from the built-in Freakenstein noise gate.The step modulation meanwhile takes it into a more techno realm, and - with the cycle re-starting from the beginning of a step with each new phrase that’s played - it’s possible to have the steps in time with the track you’re playing to (once the modulation speed is in the right ballpark). Housed in another Rainger FX custom enclosure design, based on their minipedal - but this time aerodynamically flared out, and with wings - the DFST-1 (Stealth) has two blue ‘signal present’ LEDs discretely hidden underneath the pedal, shining out under the sides like a pimped-out street racer.This unique pedal includes...Extreme sounds – venturing into synth-like filter squelchesHi intensity searing fuzz – but totally quiet when you don’t playDistinctive step cycle modulation from fast Leslie-style to slow step-by-stepAll sockets on the top end panel – no side sockets!Minijack socket for CV control, or Igor pressure padDeeply satisfying resonant tone divebombs into radioactive crackleCustom Rainger FX enclosure – with wings!

The Minidrone is a stripped-down all analog version of the Drone Rainger. It’s really fun to play over, and is a great foundation for improvisation, songwriting and dramatic live performance.It’s a deep and huge analogue synth, with modulation, made of up to three low-pitched triangle-wave oscillators mixed together.Two of these oscillators are always in unison whatever the pitch - Drone1 - though very slightly out-of-tune with each other. This creates ‘beats’ between them, a slow, wide-band modulation that keeps the drone very listenable. The pitch is controlled by ‘Pitch1’.Add in the other tone generator - Drone2 - and you can make any kind of musical interval between the drones; major and minor thirds, a fifth, octaves, or thick unison.And all points in between - including tasty discordant chords, modulating fast and strangely…Drone1 and Drone2 are fully independently tuneable - with sweepable knobs - by tuner, or by ear (low volume is recommended for accuracy), with a range of approximately two octaves.Igor:The Minidrone comes with an Igor controller - a small pressure sensitive pad - which, when pressed, drops the overall pitch down a tone (two frets), rising back up on release. This creates a darkly atmospheric starting point for writing songs, riffs, or improvising…Flip the ‘1/2Tone’ switch and this drop-down becomes only a semitone.These two drop-down options actually make the pedal work in every kind of musical mode - dark and sinister, or happy up-beat ones, weird minor ones, blissed-out ones… the Minidrone is very musical and inspiring to play over.There’s tons of bass - the tone is deep and electro. It’s like hitting a low note on some big-ass old synth (Korg MS-20? Yamaha CS-80?) and bending it…! But in Rainger FX minipedal format (custom enclosure). It’s an electric tamboura! In a two-piece band it’s your low-end!The Minidrone is true bypass, and loud. You mix the drones in with your clean guitar signal, which passes through the pedal - buffered, but unaffected. It’s designed to be used in series with other pedals, all plugged into a single input.Accommodation:Through a window in the front panel you can see a motel scene inside - with car parks leading onto a busy road. The car headlamps light up. There’s an eerie streetlamp glow - and the motel sign flashes whenever you press the Igor pad.

Die Rainger Minibar ist ein Flüssigkeitsanalyse-Pedal, ein wahrhaft revolutionäres Effekt-Pedal, das die Eigenschaften einer Flüssigkeit nutzt um den Klang Ihrer Gitarre zu bestimmen!Eine Reise in den Klang...Rainger FX laden Sie ein, an einem Experiment zur Entdeckung der Tonformung teilzunehmen.... Dieses Mini-Pedal gibt überhaupt keinen Ton von sich, bis man Flüssigkeit hinein gießt - egal welcher Art - und die verschiedenen Eigenschaften dieser Flüssigkeit entscheiden über die Menge - und bis zu einem gewissen Grad über die Qualität - der Verzerrung und auch über die Menge der Höhen und Bässe. Was Sie dazu verwenden liegt ganz bei Ihnen - jede Art von Mischung die Sie sich ausdenken können!Benutzung:Das Pedal ist extrem einfach aufgebaut; es hat einen Lautstärkeregler und einen kleinen wasserdichten Behälter, der in das Gehäuse montiert ist.Schrauben Sie den Deckel ab und befüllen Sie die Kammer mit einer beliebigen Flüssigkeit.Analysieren Sie den Sound und mischen Sie ggf. eine andere Flüssigkeit hinzu.Dann, wenn Sie Ihren eigenen, einzigartigen Klang haben, schrauben Sie den Deckel fest (handfest ist ausreichend) und schon können Sie loslegen.Bitte beachten Sie, dass einige Flüssigkeiten mit der Zeit eine klebrige Masse geben können, die es schwieriger macht, den Deckel zu öffnen.Um wieder mit dem Experimentieren zu beginnen, öffnen Sie einfach den Deckel und wischen Sie den Behälter mit einem Papiertuch aus. Sie werden hören, wie sich der Gitarrenklang zu nichts zerbröckelt, aber wenn die neue Flüssigkeit auf den Behälter trifft, erscheint der daraus resultierende neue Klang.Einige technische Dinge:Die Leitfähigkeit des AC-Signals der Gitarre entscheidet im allgemeinen über die Höhe der Verstärkung und die Opazität (wie leicht Licht durch sie hindurchgeht) entscheidet über die Höhe von Höhen und Bässen. Die Minibar erzeugt i.d.R eine angenehme Verzerrung, schön unkomprimiert und mit vielen Obertönen. Im Detail ist dies aber abhänging von der eingefüllten Flüssigkeit.Beachten Sie, dass das Pedal ohne Flüssigkeit verkauft wird und daher überhaupt keine Geräusche macht - bis Sie Ihren Beitrag leisten! Es liegt an Ihnen, zu experimentieren...Beschreibung:Wählen Sie Ihre eigene Flüssigkeitskombination um Ihren eigenen, persönlichen Sound zu kreieren!Einfach - und doch völlig innovativ!Verfügt über eine grüne 'Analyse'-LED (zur Anzeige des vorhandenen Signals)Geschmackvolle Box in HochglanzoptikInteraktiv wie kein anderes Pedal zuvor - nutzen Sie Ihre Phantasie um Ihren eigenen Klang zu entdecken!Rainger FX kundenspezifisches Mini-Pedal-Gehäuse - ohne Buchsen an der Seite! (Nein - wirklich!!)

The Snare Trap is a drum machine you play guitar or synth/keyboards through! It’s designed to be used either on the desktop – by hand – or on the floor – by foot. The drum sounds are bass drum, snare, and hi-hat, and these can be individually triggered externally by a CV – so it’s very useful for modular synthesists.It has handy shortcuts to get a beat going quickly, plus a bunch of inspiring features and effects, including delay, low-pass filter (manual or LFO-controlled), side-chaining and correctible tap tempo. There’s a pad for adding drumfills and white noise effects, which also doubles up for inputting a tempo.SoundsThe Snare Trap is an analogue/digital hybrid, and creates the sounds itself internally – no pre-recorded samples. With the tap tempo, delay, and the white noise part of the snare and hi-hat all being digital, the bass drum, shaping of the snare and hi-hat, the low-pass filter and side-chain circuit are all analogue.The main snare drum is always on the ‘2’ and the ‘4’, but the delay effect moves ghost snare beats wherever you want. There’s wet or dry options, plus the shape of the snare hit can be adjusted – adding a handclap-like effect. Snare fills (and white noise bursts) can be added live with the main pad.The first bass drum is always on the ‘1’ (the most important accent – as Bootsy says!), while the second (there are two) can be moved anywhere. The snare Trap can do any kind of swing feel you want.The hi-hat is either 8-to-the-bar, or 4, but on the offbeat.The tap tempoThe tap tempo is correctible (the same as the one used in the Deep Space Pulsar), which means that with one or more correcting taps on the main pad the tempo can be adjusted to sync with other tracks or instruments for long periods.The Snare Trap is fantastic for any electric instrumentalist who plays to a beat, where live drums aren’t convenient. The beat and your instrument are blended together – so the Snare Trap is great for single-input amplifiers. There’s a ‘hi/lo’ input switch to cope with the higher signal levels from active instruments and keyboards. It runs off a regular 9v pedal power supply.A MINI DRUM MACHINE YOU PLAY GUITAR OR OTHER INSTRUMENTS THROUGH!CORRECTABLE TAP TEMPODRUM SOUNDS CAN BE EXTERNALLY TRIGGERED – GREAT FOR MODULAR SYNTHESISTS!EASY SIDE-CHAINING – BEAT-SYNC’DSELF-OSCILLATING DELAY FOR DUB-LIKE EFFECTSLOW-PASS FILTER – CONTROLLABLE BY HAND OR LFODRUM SOUNDS AND EXTERNAL INSTRUMENT MIXED TOGETHER FOR SINGLE INPUT AMPSDESKTOP USE – OR STOMP ON IT WITH YOUR FOOT!ANOTHER VERY COOL CUSTOM ENCLOSURE