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Bridging the gap between pedalboard soundscapes and standalone desktop instruments, the Old Blood Noise Endeavors Iota is a self-contained digital monosynthesizer and sequence generator housed in a compact pedal footprint. What’s Special About it It completely abandons standard guitar-synth tracking in favor of a standalone instrument workflow—no audio input required. It combines a pitch-tracking filtered white noise engine with a five-octave sequence generator, full stereo panning (cycling left-center-right), TRS expression mapping across multiple parameters simultaneously, and 127 MIDI-accessible presets. What are the Most Intriguing Controls SCRAMBLE: Instantly reshuffles active scale intervals into fresh melodic arrangements. SKIP & HOLD: Offers a center detent for standard playback, random step manipulation to the left, and 16 repeatable rhythmic step patterns to the right. SWING: Delays even-numbered steps to introduce a natural, laid-back rhythmic groove to the sequence. 12 Scale Buttons: Let you set root notes, customize active scale intervals, or select presets directly from the faceplate. AUX Footswitch: Multi-function footswitch assignable to tap tempo, preset cycling, or manual note triggering. What are the Other more Regular Controls OSC: Blends continuously between a clean sine wave (center detent), a mid-forward wave (counterclockwise), and a chiptune waveform (clockwise). NOISE: Adds a dedicated level of filtered, […]... Click on the title for more
Marking a quarter-century of defining modern pedalboard dynamics, the Keeley Compressor Plus Germanium ($189) takes Robert Keeley’s most ubiquitous design and injects it with a distinct vintage soul. While the standard Compressor Plus earned its legendary status as an always-on utility tool for taming transients, this 25th-anniversary iteration introduces a germanium transistor deployed specifically as a front-end buffer and tone-shaping stage. Rather than traditional clipping, it rounds off brittle high frequencies, smooths out downstream overdrive, and introduces a touch of organic harmonic warmth that silicon circuits simply cannot replicate. Built in Oklahoma, the pedal retains the intuitive control layout that made the original a staple—Level, Tone, Compression, and a signature Blend control for mixing dry signal back in to preserve pick attack. Crucially, it also preserves the dedicated Single-Coil / Humbucker switch, allowing players to instantly optimize the release time to match their guitar pickups and prevent choking or pumping. Under the hood, modern utility matches vintage voicing: Selectable Bypass: Features an accessible switch allowing users to toggle between true bypass and a high-quality buffered bypass on the fly. Flexible Headroom: Operates on standard 9V up to 18V DC power (drawing a modest 25mA), letting you scale up internal voltage […]... Click on the title for more
Functioning as equal parts performance tool and generative improvisational partner, the Glitch Cloud Audio Haze turns raw instrument input into evolving ambient soundscapes, granular rhythmic slices, and shifting tape-style loops. Rather than acting as a static playback device, it continuously captures your playing into a two-buffer memory system, reassembling audio across multiple timescales to construct ever-changing textures, micro-glitches, and unexpected harmonic backdrops. Dual-Buffer Processing Architecture At the core of Haze’s generative engine is a continuous recording system offering up to 10 seconds of total buffer memory. The Time knob controls how that memory is divided between two internal loops, split evenly at five seconds each at the 12 o’clock position. The Haze parameter introduces random lo-fi variations that morph with every loop repetition, while the Repeats control truncates the active buffer to cycle tight granular slices. Sound shaping is handled by an intuitive, multi-parameter control set. A dedicated Mix knob blends clean guitar or synth tone with the generative output, while an onboard sweepable Resonant Filter alternates between low-pass and band-pass profiles. The Modulation knob applies random parameter shifts—sweeping Time and Repeats when turned counterclockwise, or Haze when turned clockwise. Finally, a 3-way Warble switch introduces light, heavy, or zero […]... Click on the title for more
Built out of a love-hate relationship with the classic Tube Screamer, the Silktone Green Hell by builder Charles Henry keeps the heart of the legendary mid-focused overdrive intact while completely re-engineering the gain architecture around it. Rather than cranking internal clipping diodes into harsh, odd-harmonic gridlock, Henry locked the core green circuit into its sweet spot and wrapped it in the harmonic topology of Silktone’s Expander. Your signal hits a JFET-based second-harmonic generator on the input to add body and texture, passes through the fixed-gain green engine, and smashes into a secondary output JFET stage that mimics a tube amp preamp. The result is a richer, thicker saturation with massive output volume and gain range. A three-way Voice switch navigates three distinct personalities: I (Classic): Tight, focused, and mid-forward, enhanced by input harmonic complexity and output JFET push. II (Mid Monster): Exaggerates the famous midrange hump into an aggressive, vocal, and unapologetic resonant boost. III (Fat): Restores low-end weight with a bigger, heavier response, fine-tuned via an internal bass trimpot. Green Hell preserves the bite, compression, and mid push players rely on, but surrounds it with lush harmonic density and unpredictable, tube-like misbehavior. ... Click on the title for more
Engineered to inject performance-oriented chaos into a traditional BBD circuit, the DOD DRAG pushes analog delay far beyond simple, predictable repeats. Providing up to 750ms of natural analog delay time that stretches to 1.5 seconds in Rubberneck mode, it ranges effortlessly from crisp, punchy slap-back echoes to expansive, self-evolving ambient soundscapes. At the center of its performance capabilities are advanced time-warping and modulation features driven by the Friction™ and Drift controls. Holding down the footswitch unleashes three unique friction modes – Rubberneck, SlideStop, and Evade – complete with distinct speed and depth variations that let you ride the chaos of pitch bends, sudden stops, and stuttering playback. Meanwhile, the modulation section features four selectable waveforms paired with light, medium, and heavy ranges to add everything from smooth, classic tape-like warbles to unpredictable, glitchy movement. The feature set and core controls are organized as follows: Time Knob & Delay Range: Delivers 750ms of standard BBD delay time, doubling up to 1.5s when utilizing Rubberneck mode. Feedback Control: Regulates the number of repeats, taking your signal from tight echoes to self-sustaining, atmospheric oscillations. Level Control: Balances your dry instrument signal and the wet delay, moving smoothly from subtle ambience to fully saturated […]... Click on the title for more
When Old Blood Noise Endeavors released the original Float V1, it disrupted the filter landscape by rescuing digitally controlled analog filtering from auto-wah cliché and turning it into a stereo textural playground. With Float V2, OBNE completely overhauls the design while preserving the core duo of 2-pole (12dB/octave) state-variable analog filters built around the high-grade SSI2164 chip. What Stays the Same Float V2 maintains the organic interplay between LFO modulation and dynamic envelope tracking that made V1 a favorite for guitars, synths, and bass. Both independent filter engines retain dedicated controls for Cutoff, Resonance, Volume, LFO Rate, Depth, and Shape, alongside bipolar Sensitivity that lets your picking dynamics sweep either the cutoff frequency or the LFO speed. What’s New in Float V2 Rather than a simple refresh, V2 delivers massive operational, digital, and mechanical upgrades designed for complex studio rigs and live pedalboards: Expanded Routing & Presets: Upgrades from basic stereo/parallel to four distinct routing modes: Mono Parallel, Mono Series, Mono-in-Stereo-out, and True Stereo. It also introduces onboard preset storage (3 presets locally, up to 127 via MIDI). Full MIDI & USB-C: Adds comprehensive MIDI I/O with MIDI clock sync and full CC control over every parameter, plus USB-C for […]... Click on the title for more
Engineered as a flexible distortion workstation by boutique builder Dark Devices, the White Disto rejects standard single-mode limitations in favor of two independent, toggle-selectable circuits housed in a matte army green enclosure. Built entirely by hand using high-grade plug-in components and backed by a comprehensive repair warranty, it combines modern layout conveniences—including top-mounted audio and power jacks, a soft-touch true-bypass footswitch, and standard 9V DC centre-negative power operation—with vintage-inspired crunch. Rather than utilizing a traditional high/low gain toggle, the central two-position switch routes your signal through two fundamentally distinct voicing structures: Circuit 1 (Low Gain Mode): Activated with the toggle in the down position, this circuit uses an internal 18V charge pump paired with LED clipping to deliver massive headroom and exceptional string clarity. Ranging from transparent clean pre-amp boosts and touch-sensitive drives to open, articulate distortion with heavy dynamic response, it functions as a pristine always-on enhancer or a stackable front-end driver. Circuit 2 (High Gain Mode): Engaged by flipping the toggle up, this mode shifts the pedal into classic, medium-to-high gain territory that borders on aggressive fuzz. Drawing inspiration from legendary white-face distortion architecture, Dark Devices re-engineered the circuit to address common historical complaints—delivering a richer midrange, […]... Click on the title for more
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The 
It looks like with the new reissue of the original 1991 Blues [space] Breaker overdrive, Marshall has decided to surrender to the common misspellings of this pedal's name, as in "BluesBreaker" (without a space), since their entire online literature spells it that way.... Click on the title for more
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One of the most talked-about pedals to emerge from the 2025 NAMM Show was the 
