Now shipping from Catalinbread, the Montavillian Echo ($160). Inspired by big and warm tube-driven echoes, this ambient delay addresses some of the shortcomings of other echo pedals, while maintaining its own unique sonic footprint. Here are some of the standout features of the unit:
Headroom and stacking abilities: The Montavillian is designed to have a lot of headroom at 9V, but should you run out, the unit operates at 18V to really take care of business.
Cut Control: The Cut is actually a lowpass filter, with a knee that sweeps from 400 to 1500Hz, allowing you some control over the tone of the echo.
Loud Repeats and Self Oscillation: The Mix control is at unity when set halfway (when running at 9V), which leaves you a lot of room to boost the level of the repeats over the dry signal. This can be useful for creating some self-oscillation chaos, which the 'villian is designed to do with ease. The unit self-oscillates with fairly low settings on the repeat knob. and the cut control is helpful in determining just how piercing the meltdown will be.
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Together with a handful of other circuits, the 
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The Catalinbread Tribute is the new low-gain overdrive from the Portland-based company and - if memory doesn't betray us - the first device in their roster featuring a parametric EQ since the VariOboost, the very first pedal released by Catalinbread, a now-discontinued boost pedal that inspired this new model.... Click on the title for more
"Shimmer" is an effect that came in vogue in the early '10s, and sounds like an angelic choral effect obtained by mixing a long reverb with harmonized pitch shifted trails of that same reverbered signal. The Catalinbread Cloak is the Portland-based company's take on that effect.... Click on the title for more
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Buy it on Sweetwater.com[/caption]
Guitarists into Black Sabbath should take note of this limited edition version of the Catalinbread | Sabbra Cadabra, an overdrive pedal that simulates the tone of that band's lead guitarist Tony Iommy.... Click on the title for more
Portland pedal builder 
Transistorized fuzz came about by accident in 1961 when a faulty circuit in a mixing console caused Grady Martin’s six-string electric bass to distort. Martin was in the studio tracking a session for country singer Marty Robbins. “
