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The same lineup of Drive, Tone and Level controls comes aboard, as does True Bypass switching and the JRC4558 IC chip that gives the pedal its trademark, blues- and modern-rock friendly bite.
The EH Big Muff Pi defined the guitar tones of the 70’s and then re-defined them in the 90’s. Yet for all its legendary pedigree, the Pi of today is a far cry from the triangle knobs and ram’s heads that came before it.
Originally released in 1974, the D&S Distortion & Sustainer creates the same silky, compressed fuzz that those vintage Muffs are famous for. Yet where Muffs have a tendency to “blanket” your original guitar tone, the D&S retains more of the original sound and feel of your instrument and amp.
By using hand-selected low-noise transistors, the D&S actually offers more gain than a vintage Black & Red, yet with a lower noise floor. That’s right – MORE distortion with LESS noise.
The smooth EQ sweep of the D&S Tone control covers a frequency range that is narrower yet more useful than the Pi’s – This tighter, more focused EQ provides superior note definition, even when playing chords.
The combination of these elements gives the D&S the ability to produce huge amounts of distortion with minimal alteration to your guitar’s tone.
One big wall of raw, grungy nastiness in a box – the D&S takes the sound of the greatest vintage Muff and turns it up to 11.
A “better than” reissue of the 1980’s classic, the current-production Maxon FL-9 provides all the icy time-based modulation effects as the original with a lower noise floor and superior construction quality.
While the original FL-9 (and current Ibanez reissue, for that matter) used low-grade components to meet price-point targets, the Maxon Reissue spares no expense to bring you the ultimate Analog Flanging tone.
The AD10 takes Maxon’s 30+ years of experience in analog delay design and offers it up in one compact, WYSIWYG pedal.
The AD10 delivers up to 600 milliseconds of gorgeous, organic delay that doesn’t get in the way of your original guitar tone. Delay repeats are tuned to perfection with a subtle yet distinct distortion and none of the high-frequency whistle associated with over-clocking of the delay circuit.
The AD10’s minimalist control interface makes it incredibly easy to dial in a variety of usable delay effects including double-tracking, faux reverb, tight rhythm slapbacks, and longer delays for solos.
The first thing you’ll notice when you step on the PAC-9 is a beefy, full-bodied chorusing that punches you directly in the chest – gone are the thin, hissy, sissified chorus tones of yesteryear, replaced instead by a full-frequency effect that simply sounds massive.
The PAC-9’s circuit uses professional-grade IC’s typically reserved for High-End Audio applications, providing audiophile performance in a compact stompbox format.
When compared to a standard chorus, the PAC-9’s effect appears more dramatic and has more presence in a mix – this is due to the retention of low and low-mid frequencies that are typically chopped out by other boxes.
-Analog chorus with lush, organic tone
-Wide-range Speed control for Rotary speaker effects
-Special noise filtering circuit
-Bright and Pure switches for additional tonal options
Maxon’s take on the legendary Mu-Tron III, the AF-9 Auto Filter uses special optical circuitry to reproduce the liquid, shimmering, vowel-like envelope filtering that made the Mu-Tron a staple of 70’s Funk and Soul music.
Since its original release in the early 80’s the Sonic Distortion has gained a huge cult following among tone connoisseurs, including the likes of guitar legends Scott Henderson and Mike Landau.
Maxon’s current-production reissue captures all the magic of the original with the added benefit of true bypass switching.
The SD-9 provides a smooth distortion that covers a wide range of Gain levels from mild overdrive through pseudo-fuzz. Regardless of the Gain setting, the SD-9 remains articulate and responsive to note dynamics, providing excellent sustain without crossing over into super-compressed Metal territory.
The GE601 Graphic Equalizer covers six carefully selected frequency bands over a five octave range with 12 dB of Boost/Cut per band (100, 200, 400 & 800 Hz, 1.6 & 3.2 KHz respectively). There’s also a Master Level control with 12 dB of overall Boost/Cut.
The Maxon OD-9 may look just like your old favorite, but that's where the similarities end. With improved circuitry, the OD-9 stands at the forefront of the Nine Series effects evolution.
The Maxon OD-9 uses a signal-distorting diode (Panasonic #MA150) that is located in the amplifier stage's negative feedback loop (this stage also contains the JRC4558 IC chip). Therefore, the OD-9 distorts signal in the amplifier section itself which yields a smoother, milder, more natural sounding distortion than a separate clipping stage. This is also the reason that the IC type used in the circuit has such a large impact on the unit's tone. Maxon developed this unique design more than 20 years ago, an industry first that is commonplace today.
The OD-9's new circuit uses different output resistors than its predecessor. After the unit's initial release it was discovered to have a high susceptibility to noise due to static electricity buildup. To improve performance, the values of the output resistors on the Maxon OD-9 were increased, but their positions kept the same as the original. This circuit change has no audible affect on the sound of the unit, save for reducing unwanted noise levels. In addition, the Maxon OD-9 features True Bypass Switching for natural, uncompromised tone in bypass.
Like the OD808, the OD-9 provides the natural, mild overdrive of a tube amp without sacrificing the guitar's original tone. It can also be used as a clean booster to provide increased gain from an amplifier
Originally released in 1979, the Maxon OD808 was one of the first tube-amp overdrive simulators to hit the market. Its smooth, creamy crunch tone caught on quickly, and helped to launch a long line of predecessors as well as imitators. Today, the OD808 design is without a doubt the most used, most imitated and most lauded overdrive circuit of all time. The reason for this is simple tone. Simply put, the OD808 provides the natural, mild overdrive of a tube amp without sacrificing your guitar's original tone. In addition, it can be used as a clean booster to provide increased gain without compromising the sound of your amplifier.
The secret behind the legendary "808 tone" lies in the amplifier section of its circuit. Rather than having an amplifier stage followed by a clipping stage, the Maxon OD808 uses a signal-distorting diode (Panasonic #MA150) that is located in the amplifier stage's negative feedback loop (which also contains the JRC4558 IC chip). Therefore, the Maxon OD808 distorts signal in the amplifier circuit itself which yields a smoother, milder, more natural sounding distortion than a separate clipping stage. This is also the reason that the IC type used in the circuit has such a large impact on the unit's tone. Maxon developed this unique design more than 20 years ago, and while it is commonplace nowadays, back then it was an industry first.
It should be noted that the Reissue Series OD808 uses different output resistors than the original version. After the unit's initial release it was discovered to have a high susceptibility to noise due to static electricity buildup. To improve performance, the positions of the output resistors on the reissue OD808 were reversed and their values increased in order to reduce noise levels. This circuit change has no audible affect on the sound of the unit, save for reducing the noise levels.
Whether it's used as an overdrive or a booster, the Maxon OD808 is the closest you can get to the classic sounds of 1970's rock guitar in a compact effect pedal
