Decided to grab this since they’re going out of business. I really like it so far and it might replace at least two of the dirt pedals on my board.

The parametric EQ on this is a little weird to get used to. It doesn’t have a volume knob so you’ll sometimes have to play with the knobs to get the right level.

I think my favorite part about it so far is the clean/dirty switch, which I was not expecting. I’ve been using the clean mode with my other dirt pedals to coax some new tones out of them.

Shame Stone Deaf is going away becuase I think this design they base all their drive pedals around is really neat now that I have one.

Behringer has announced plans to release 200–300 guitar pedals priced at $10–$15 each, featuring all-metal enclosures, analog and digital circuits, and hackable open-source designs. The Zentara Mini Overdrive is confirmed as part of the rollout, with phased releases expected starting early-to-mid 2027.

You asked for a Flerb. You're getting PHERB! The JHS 3 Series PHERB is a dark, moody, lo-fi reverb running into a four-stage vintage-style phaser, with both effects on all the time, for $99. It was decided, designed, prototyped and approved for production in just 35 hours, which makes it the fastest pedal JHS has ever made.

In this episode, Josh explains why he refuses to build a flerb (no slam on the Holy Grail), how our engineer Aric shelved some serious DSP work to make this happen, and why we debuted it at a farmers market. We walk through Mix, Speed and Length, demo reverb-only mode, crank the decay until it goes forever, and flip the BREAK toggle to drop an asymmetric bitcrusher in front of the whole circuit.

Made for shoegaze, ambient, industrial, noise and experimental players who want a reverb that fights back.

Not sure when this was announced but I happened to go to their site today and saw the banner. Bummer, I’ve always been intrigued by their stuff.

I lost my original draft of the Donner Arena 2000 effects, and while I found it later, I had started a new one. I used a decent LLM model to pull some online research together and collate it with what I had, and it did a reasonably good job, so I asked it to do the same for the Donner Pocket Go, and since that was close to hand, I'm posting that first. I like to pay knowledge forward when I've got it, because it's often me out there searching for obscure lists. So here's the first one:

Donner Pocket Go — Original Model Equivalents Reference

Comprehensive reference of original factory models only (downloadable community presets excluded — any slot could be something different tomorrow). All identifications based on naming conventions and industry knowledge; unverified entries marked ⚠️.

FX BLOCK

MOD BLOCK

AMP BLOCK

Bass-designated slots (16–20) held alongside guitar models deliberately — on this unit they double as homes for downloaded guitar amps. Single unified list.

CAB BLOCK

Same unified convention as AMP — cab slots may also be overwritten by community downloads.

Special note: The Sperimental cab imparts an acoustic-body resonance character. No dedicated acoustic amp preset ships with the unit — use with the amp block bypassed for acoustic simulation.

DELAY BLOCK

REVERB BLOCK

Key Observations

Comparison: Pocket Go vs. Arena 2000

Notes for Future Updates

• All amp and cab slots are fluid — community downloads can replace any factory model
• Bass-designated slots routinely host downloaded guitar amps on this unit
• Amp/cab pairing is fully flexible
• Official model documentation from Donner not published; all equivalents inferred

Sources: User enumeration of Pocket Go blocks, cross-referenced with industry naming conventions and manufacturer specifications.

I lost my original list, so I researched and put together another one with the original notes I later found and the help of an LLM, which did a pretty decent collation job.

The more accurate these are, the easier it is to dial in specific tones with emulations of the correct gear.

Since I'm usually out there searching for things, it's only fair to post what info I have, so here's the other list for today:

Donner Arena 2000 — Model Equivalents Reference

General reference mapping Arena 2000 model names to real-world gear. Compiled from an AI-generated source document (via Scribd), cross-checked against the community list by Steve Baric (woodsnstrings.stevebaric.ca) and manufacturer specs. Entries marked ⚠️ are unverified or contested.

COMP (Compressors)

DRIVE (Overdrives, Distortions, Fuzzes)

AMP (Amplifiers)

Fender

Marshall

Vox

Mesa Boogie

High-Gain American

British

Other / Boutique

CAB (Cabinets)

EQ (Equalizers)

NG (Noise Gates)

DELAY

REVERB

DRUM

40 patterns: POP, ROCK, BLUES, FUNK, JAZZ, METAL, PUNK, HIP-HOP, LATIN, DISCO — four variations each.

FX A / FX B

Sources

• Original list: "Donner Arena 2000 Effects & Models List" (Scribd, AI-generated document) — extracted from PDF via local OCR
• Cross-reference: Donner Arena 2000 Amp List — Steve Baric, woodsnstrings.stevebaric.ca
• Verification: Pigtronix (pigtronix.com), manufacturer model pages

Wanted to ask lemmy about the current state of amp sims and modelers.

I've been rocking a Kemper for a decade, but recently saw a video on the Quad Cortex that looked amazing. This got me going down a rabbit hole I haven't visited in a long time.

So here's my use case:

• An amp sim/modeler that is pedal sized (or slightly larger, could be QC sized).
• I'm specifically interested in it's amp and cab simulation capabilities. I have my own physical pedals I'll be using. I don't need nor really care about the pedal/effects it has.
• I would prefer a touch screen. I'm tired of the Kempers TI-89 esque interface.
• Needs at least 1 send/return chain.
• Multiple outputs (1/2 and 3/4) would be preferable, so I can go to FoH and monitor separately.

Based on the above - what's the best option these days? Or, would I be better off waiting a bit? I've read various comments about something called NAM A2, and rumors that there may be more options coming in early 2027. I can be patient if there's something that really fits the bill coming soon.

Cheers and thanks

I have a Cry Baby (original) wah as the first pedal in my chain. The next pedal is a Death by Audio Fuzz War, followed by a Boss Blues driver overdrive. When I click on the Wah, does absolutely nothing if the Fuzz war is on, but it works perfectly fine with the Blues Driver if I bypass the Fuzz war. Anyone have any ideas why this would be?

Meet the Wahcko mk.2: our expressive six-position wah, now with a custom JAM inductor, internal Q control and selectable guitar and bass modes.

• Custom JAM inductor inspired by vintage TDK designs
• Six-position SWEEP with six distinct frequency ranges
• Internal Q and input-gain trimmers
• Guitar/bass selection via internal DIP switches
• Adjustable rocker tension, with a 4 mm Allen key included
• True bypass
• 9V battery or 9V DC centre-negative power

The Fundamental Lo-Fi Delay turns familiar echoes into shifting, imperfect textures. Move from bright, wow-and-flutter-soaked chimes to dark, undulating clouds, or build rhythmic, multi-tap echoes with analog-style character. Whether you want subtle movement, hazy ambience, or shifting rhythmic patterns, three sliders and a three-way switch make it easy to find your sound.

Walrus dropped two videos for the new pedal

• Walrus Audio Fundamental Lo-Fi Delay Pedal Play
• Walrus Audio Fundamental Lo-fi Delay Tech Demo

https://jhspedals.info/collections/all-products/products/at-mini

Meet the AT Mini: the original V1 AT circuit, permanently set to Andy Timmons' preferred 100-watt voicing — the loudest, most open, most amp-like setting on the version 1. Same four knobs (Volume, Drive, EQ, Air). Same tone. Just a smaller footprint and a smaller price — $129. Want the 25/50-watt voicings or the independent boost channel too? That's still the AT+, still $219, still in the lineup. This is the one for players who just want Andy Timmons' exact setting, in less space on the board.

The MXR Flanger/Doubler brings the sound of MXR’s original rack unit to your pedalboard, re-creating its all-analog flanger and doubler effects in a single stompbox. The flanger and doubler heard on countless ’70s and ’80s records used bucket-brigade circuitry, and this pedal preserves that same all-analog path and the original control set, ensuring you get the real textures rather than a digital approximation

Reviews:

• RJ Ronquillo
• Ola Englund
• Leon Todd

This week JHS Pedals shipped and sold its one millionth pedal. I started this company eighteen years ago — accidentally — on a plastic folding table in the attic of our townhouse in Jackson, Mississippi. This week we celebrated a million little metal boxes later, and in this entry I read you the speech I gave to the fifty people in the room.

You asked for it, but Houston, we have a problem…

Welcome to the show. This challenge has been suggested many times by many people, the idea of pitting one brand against another using a MonoBrand approach to each of our pedalboards.

As it turned out the challenge was very different because of the pedals we had to hand - in short we have LOADS of Boss pedals and almost no MXR pedals. Argh! What to do? Max five pedals, one guitar, one amp… GO!

Enjoy the show!

Not a totally new pedal, but Walrus Audio has returned the Lüm Texture Engine pedal to production.

Lüm seeks to illuminate your path with three unique granular and textural reverb modes, momentary automation, and presets. Drawing on elements of the Slö Reverb, Lore Reverse Reverb, and Fable Granular Generator, Lüm takes your audio signal and fractures it into tiny "grains" wrapped in different washes of reverb to create sporadic and atmospheric textures.

Ernie Ball Inc., the world’s leading manufacturer of premium guitar strings, bass strings and musical instrument accessories, today announced that it has entered into a definitive agreement to acquire Source Audio, the Massachusetts-based company behind some of the most innovative and acclaimed effects pedals in modern music.

And don't look now, but JHS used the occasion to announce a collaboration, 7 years in development, with Source Audio. It had knobs and a foot switch.

I built this Griffin Effects Hand of Doom pedal I got from Musikding. It's based on the Catalinbread Sabbra Cadabra, so a Laney Supergroup preamp with a treble booster in front of it. I love how it turned out.

It was quite a hassle to build, since I was missing one of the pots, and there were some errors in the instructions. It also delayed due to the hot weather. I refuse to solder when it's 40 degrees outside.

The artwork was a bit of experimentation. I 3D printed a template, which I could lock into the holes. The burst on the edges was also a first for me. I'm very happy with how it turned out, and I'll definitely do something similar for any future builds.

Below some more pictures.

Obligatory gut shot. Q1 is in a socket. I have no intention of swapping it out, but who knows.

Freshly painted case.

The 3d printed template

Who knew that franchise-branded electric guitar peripherals were becoming a thing?

A Godzilla pedalboard would have been fantastic for garage bands back when GenXers were young…

Playing mostly through an Orange OR30 these days with a Mojotone 2x12 (Celestion Neo Creambacks). I use a Tone King Gremlin too sometimes, but to be honest I have more fun playing that one straight into the amp with no pedals. This board is super versatile and covers most of what I’m playing - mostly Pixies type stuff but also a lot of classics (Hendrix, Zeppelin) to punk (NOFX, AFI, Pennywise). The standout pedal here for me is the Mas Effects The Expanse - the power plug is a little wonky but the pedal sounds great.

https://www.chasebliss.com/big-time

Big Time revisits the mixed-up circuitry of rackmount delays from the early 80s, where advanced analog engineering was used to prop up crude digital systems. It includes both a stereo analog preamp at the input stage, and a stereo analog limiter within the delay’s feedback loop. Inside you will find misbiased modulations, dissolving loops, sequenced echoes, and all of the space stuff you could ever want. The anything-is-possible of digital, the everything-sounds-good of analog.

It also comes with a big time price tag of $999 (US).

In this video, I sit down with ChatGPT and quiz it on guitar pedal history - the Tube Screamer, the Big Muff, the Maestro FZ-1, DOD, JHS, Jimi Hendrix's rig... the works. And what you're about to watch is kind of alarming. It hallucinates pedals that don't exist. It agrees with things I KNOW are wrong when I push back. It confidently states dates it can't actually source. And then when I ask it to prove anything... it can't.

Sounds neat but I worry you need to run it in stereo to get the full effect.

Hendrix didn’t speak in decibels and ohm values, but he collaborated with engineers who did—Mayer and Kramer—and iterated fast as a systems engineer. Reframing Hendrix as an engineer doesn’t diminish the art. It explains how one person, in under four years as a bandleader, could pull the electric guitar toward its full potential by systematically augmenting the instrument’s shortcomings for maximum expression.

This is another one that’s been on my list for a while. It’s a good delay, maybe not as prominent as I would have liked but I’m still messing around with it. I have it set to a pretty crunchy tape delay here.

I want to get my expression pedal set up for the intensity knob so I can manipulate the self oscillation without bending over.