ROGER MAYER "Page 1"

In 1964 I designed my first fuzz guitar effects pedal that was used by Jimmy Page and Big Jim Sullivan and featured on many early hit records. I am pleased to announce that after 40 years this early ground breaking fuzz will be available again. It uses carefully selected germanium transistors and has the same distortion section as the original 1964 version. An added carefully tuned passive fatness control follows the distortion section and this adds fatness without messing up the guitar's detail or the distortion characteristics. It has all the features of the new Vision Series with Hard Wire and Buffered Dual Outputs and is housed in the same style of new enclosure. This reissue meets our strict guidelines of keeping the best of the old but also adding some new noteworthy modern features and we at Roger Mayer welcome you to step on to a piece of genuine history. 

ROGER MAYER "Concorde + Treble Booster" (SOLD)

The Concorde+ Treble Booster is housed in the new Vision Series enclosure design and uses both silicon and germanium transistors in a unique configuration to obtain the best tone qualities from the marriage. When I first started designing pedals in 1961 I produced a Treble Booster that was tried and used by my friends including Jimmy Page who then played in local bands. 

ROGER MAYER "Mongoose" (SOLD)

The MONGOOSE FUZZ was developed in 1985 for guitarists who demand a guitar effect with lots of fat fuzz and enough bottom end to keep a metalhead happy. The MONGOOSE FUZZ also sounds as if it has a pre-set type wah voice that gives the distortion distinctive focus. It has proved popular with a wide and varied type of guitar player from Metal through Rock and Jazz. It is more modern sounding and civilised sounding than the Axis or Classic Fuzz and has found a niche with those who want an alternative but not too radically different sound that the current range of mass produced units from the USA, Japan and Far East produce.

Electronically the Mongooose uses a combination of both discrete and IC analogue design techniques. The clipping circuit primarily comes from a passive diode circuit resulting in smooth compression and harmonic overtones providing a smooth and transparent transition from clean to overload states. Chords sound very good and with the amazing amount of sustain available, feedback is possible at the lowest amplifier volume settings. These features have made the Mongoose popular in the recording studio and similar situations where feedback is desirable at low sound levels. Current users include Bono (U2) and Joe Perry (Aerosmith).

ROGER MAYER "Octavia" (SOLD)

The OCTAVIA is probably our most famous and distinctive creation. This guitar effect was designed in early 1967 and featured on "Purple Haze" and "Fire" by Jimi. It's unique tones can also be heard on such tracks as "One Rainy Wish", "Little Miss Lover", "Little Wing", "Machine Gun" etc.

The OCTAVIA produces a sound that is an octave higher than the note you are presently playing. This doubling effect is accomplished through electronic mirror imaging techniques that are program sensitive and also respond to the feedforward inputs of the player. The electronic circuitry is analogue in design and will react faithfully to all the subtleties and harmonic overtones from the guitar. The effect produced is very unique but human in quality. The unit that is manufactured today is representative of the latest evolution of Octavia that Jimi used and contains the feedforward and gating effect that my earlier evolutions lacked. The modern clones today often copy the Tycobrahe unit that in fact was a rip off of my earlier 24 volt versions. These units were not designed to work optimally with 9 volts and in fact you would be buying a clone of a copy so it makes sense to buy a unit from the man who invented it.

ROGER MAYER "Voodo-1" (SOLD)

The Voodoo-1 has been designed and optimised to suit a wide range of pickups. It is the best choice for humbucking pickups and produces bright clear tone colours that will make solos stand out without sounding too thin. Using single coil pickups and 4 x 12 cabinets gives the addition body with bite that is necessary to cut through. The Voodoo-1, of course is equally happy with combos at low volume and make these small amps sound like big stacks. The distortion produced feels particularly tube like in operation and the Voodoo-1 slips into distortion with silky smoothness and compression characteristics usually only associated with vintage classic tube amplifiers The volume control of the guitar is very effective in controlling the amount of distortion and the guitar cleans up to it's original tone very easily. The Tone control is of advanced design and has been optimised to compliment various pickup types. The Gain control enables the unit to be used as a power booster without distortion up to full maxed out grunge grooviness. The Output control sets the amount of boost required. 

Electronically the Voodoo-1 shares all the same basic Voodoo Series features with dual output buffering or hard wire output etc. The distortion section uses a unique combination of the best discrete and IC design techniques to emulate the type of distortion found on many classic tube amplifiers. It allows the player to create a wide range of distortion effects from mild to extreme whilst reacting to the most subtle nuances in touch and playing.