Rate
controls the speed/rate of the LFO wave that controls the effect
Depth
controls the depth/amplitude of the modulation (the size of the range in which the effect sweeps).
Res
sets the amount of effected signal fed back into the effect (for a stronger effect)
Mode I/II
switches between 2 modes, mode I is more mellow than mode II.
a true classic in the Boss line, if you missed one on their long run (now discontinued), this one is truly in collector’s condition

controls the depth/amplitude of the modulation (the size of the range in which the effect sweeps).
Res
sets the amount of effected signal fed back into the effect (for a stronger effect)
Mode I/II
switches between 2 modes, mode I is more mellow than mode II.
a true classic in the Boss line, if you missed one on their long run (now discontinued), this one is truly in collector’s condition

Get super-smooth compression and endless sustain! The CS100 gives you a simple way to improve your overall tone. It compresses louder signals and at the same time boosts lower signals for silk-smooth sustain without compromising the sound quality. This BEHRINGER product has been designed to compete head to head with leading products on the market. You can use dedicated Level, Tone, Attack and Sustain controls for easy sound shaping. We’ve included a status LED for effect On/Off and battery check, and you can run your CS100 on a 9 V battery or a DC power supply (not included). For absolutely noise-free operation, a first-class electronic On/Off switch is integrated.

Designed for use with: Guitar/Bass/Keyboard

sustain without compromising the sound quality. This BEHRINGER product has been designed to compete head to head with leading products on the market. You can use dedicated Level, Tone, Attack and Sustain controls for easy sound shaping. We’ve included a status LED for effect On/Off and battery check, and you can run your CS100 on a 9 V battery or a DC power supply (not included). For absolutely noise-free operation, a first-class electronic On/Off switch is integrated.

Designed for use with: Guitar/Bass/Keyboard

footswith bisa digunakan untuk amp roland cube, efek dll

The CE-2 doesn't have a stereo output so the CE-3 was made, perhaps more as a replacement for the CE-1. The CE-3 have adjustments for depth and rate, just like the CE-2, but supports in addition a stereo output. Having two outputs gives you the option of having a chorused signal from Output A and the direct signal at the same time from Output B. These can be panned left and right to simulate the sound of two guitars playing simultaneously.

The placement of the 3 knobs are not typical. This is the only 3-knob pedal that has three knobs in a row. As this caused the LED to become hidden behind the middle knob, it was a design that was soon changed in favor of the V shaped 3 knob control layout.

stereo output. Having two outputs gives you the option of having a chorused signal from Output A and the direct signal at the same time from Output B. These can be panned left and right to simulate the sound of two guitars playing simultaneously.

The placement of the 3 knobs are not typical. This is the only 3-knob pedal that has three knobs in a row. As this caused the LED to become hidden behind the middle knob, it was a design that was soon changed in favor of the V shaped 3 knob control layout.

DS-2: Turbo Distortion
Features
The DS-2 Turbo Distortion features twin modes for an expanded range of distortion--taking users from blues-rock rhythms to searing leads at the press of a pedal or twist of a knob.

Classic BOSS distortion tones with added Turbo modes
Turbo Mode I produces warm and mellow distortion with flat frequency response
Turbo Mode II provides biting distortion with a mid-range boost, perfect for leads
Built-in remote jack allows users to connect an external footswitch such as the FS-5L for instant, hands-free switching between modes

twist of a knob.

Classic BOSS distortion tones with added Turbo modes
Turbo Mode I produces warm and mellow distortion with flat frequency response
Turbo Mode II provides biting distortion with a mid-range boost, perfect for leads
Built-in remote jack allows users to connect an external footswitch such as the FS-5L for instant, hands-free switching between modes

The Boss MT2 Metal Zone Distortion Pedal gives you tube warmth and crunch with your super sustain.
Equipped with a dual gain circuit, the MT2 provides super-long sustain and heavy mids and lows like a stack of overdriven amps. With three-band EQ, a wide range of distortion textures is at your command. Versatile distortion and 3-band EQ, tune into the precise distortion tone you've been looking for.

a stack of overdriven amps. With three-band EQ, a wide range of distortion textures is at your command. Versatile distortion and 3-band EQ, tune into the precise distortion tone you've been looking for.

made in japan Rp 800rb
The Boss Digital Metalizer combines distortion with several preset short delay and chorus effects. While the distortion itself is analog the optional effects are digital hence the name Digital Metalizer. The effects are meant to broaden the sound by simulating the double tracking effect often employed in the studio.

At the time of the MZ-2's introduction in the late 80's digital technology had finally progressed to the point that it could be used in something as small as stomp box. CD's were expensive and most people still listened music on a format we called tapes. Manufacturers were falling over themselves to put the word "digital" on every possible product. Digital stomp boxes were all the vogue (Ibanez Digital Flanger anyone?) and hair metal was king. Into this fray stepped the MZ-2 promising to make all your adolescent spandex rockstar dreams come true.

By today's standards this pedal doesn't sound very metal at all, but remember at this time Poison was one of the biggest metal bands around.
The Boss Digital Metalizer is long out of production. It is most famously used by David Gilmour of Pink Floyd.

the name Digital Metalizer. The effects are meant to broaden the sound by simulating the double tracking effect often employed in the studio.

At the time of the MZ-2's introduction in the late 80's digital technology had finally progressed to the point that it could be used in something as small as stomp box. CD's were expensive and most people still listened music on a format we called tapes. Manufacturers were falling over themselves to put the word "digital" on every possible product. Digital stomp boxes were all the vogue (Ibanez Digital Flanger anyone?) and hair metal was king. Into this fray stepped the MZ-2 promising to make all your adolescent spandex rockstar dreams come true.

By today's standards this pedal doesn't sound very metal at all, but remember at this time Poison was one of the biggest metal bands around.
The Boss Digital Metalizer is long out of production. It is most famously used by David Gilmour of Pink Floyd.

RDD-20 Digital Delay
Boss Pocket Dictionary 4, 5 and 6

The RDD-20 employs a 12-bit PCM system plus analog logarithm compression for high quality compatible with a 16-bit system. Continously variable delay time between 0.75 to 400ms with flat frequency response up to 15kHz. Also equipped with Delay Tone control.

Specifications
PCM System: 12-bit plus analog logarithm compression
Delay Timer Controls: Range (1 5.3.6, 12 5, 25. 50. 100, 200, 400ms), Fine(x0.5 to x1)
Frequency Response: 20Hz to 15kHz (+1/-3 dB) Delay, 10Hz to 60kHz (+1/-3 dB) Direct
Modulation Controls Rate(0.07Hz to 10Hz), Depth
Feedback Control: Level
Modulation BUS Jack: 1
Modulation Polarity Switch: 1
Remote Jack: Effect On/Off
Input Level/Impedance: -20dBm/1MOhm, -10dBm/47kOhm
Output Level: -20dBm, -10dBm
Output Load Impedance: Over 10kOhm
Power Source: 9V DC by PSA series AC Adaptor
Dimensions: 218(W)x44(H)x 169(D) mm (8-9/16" x 1-3/4" x 6-11/16")
Weight: 900g (2lb.)

variable delay time between 0.75 to 400ms with flat frequency response up to 15kHz. Also equipped with Delay Tone control.

Specifications
PCM System: 12-bit plus analog logarithm compression
Delay Timer Controls: Range (1 5.3.6, 12 5, 25. 50. 100, 200, 400ms), Fine(x0.5 to x1)
Frequency Response: 20Hz to 15kHz (+1/-3 dB) Delay, 10Hz to 60kHz (+1/-3 dB) Direct
Modulation Controls Rate(0.07Hz to 10Hz), Depth
Feedback Control: Level
Modulation BUS Jack: 1
Modulation Polarity Switch: 1
Remote Jack: Effect On/Off
Input Level/Impedance: -20dBm/1MOhm, -10dBm/47kOhm
Output Level: -20dBm, -10dBm
Output Load Impedance: Over 10kOhm
Power Source: 9V DC by PSA series AC Adaptor
Dimensions: 218(W)x44(H)x 169(D) mm (8-9/16" x 1-3/4" x 6-11/16")
Weight: 900g (2lb.)

2 chanel

The first guitar pedal to capture transistor radio and megaphone lo-fi sounds!


Best used at the end of a signal chain in combination with other pedals, the Ibanez LF7 from the Tone-Lok series creates wide and wild soundscapes of far-out tones that used to require a rack of vintage analog gear. It also performs well with vocals, drum machines, or in any mix-down context.

On the outside, Tone-Lok effects are equipped with the Ibanez exclusive set and forget Push-Lok rotary pots. Push the knobs down and your tone settings lock securely inside the case—no more lost settings or broken knobs.

On the inside, Tone-Lok pedals feature hi-fidelity components carefully tweaked with the constant input from a new generation of Ibanez players. And all this great stuff comes encased in cool looking, road-tough metal boxes at prices the working player can afford.

creates wide and wild soundscapes of far-out tones that used to require a rack of vintage analog gear. It also performs well with vocals, drum machines, or in any mix-down context.

On the outside, Tone-Lok effects are equipped with the Ibanez exclusive set and forget Push-Lok rotary pots. Push the knobs down and your tone settings lock securely inside the case—no more lost settings or broken knobs.

On the inside, Tone-Lok pedals feature hi-fidelity components carefully tweaked with the constant input from a new generation of Ibanez players. And all this great stuff comes encased in cool looking, road-tough metal boxes at prices the working player can afford.

HT-1 HEIL TALKBOX The original Heil Talk Box is back in style. You too can recreate the sounds popularized by: Peter Frampton, Joe Walsh, Slash, Alice In Chains, Aerosmith and others. Easy to Use! Can be set up with one guitar amp, but requires separate microphone and mic amp.Features: Sturdy metal body, 6-1/2 feet of surgical tubing and a sturdy phenolic diaphragm
Price Only Rp 1.300.000

be set up with one guitar amp, but requires separate microphone and mic amp.Features: Sturdy metal body, 6-1/2 feet of surgical tubing and a sturdy phenolic diaphragm
Price Only Rp 1.300.000

Putting electric, acoustic, and bass guitar sounds on the table
Guitar Amps and Bass Amps
The J-Station offers the usual collection of amp models, including Fender, Marshall, Vox, Mesa, and others (I like that they included a Hiwatt), but adds a couple of bass amps into the mix (based on Ampeg, SWR, and Trace-Elliot units), a major plus. (Line 6 addresses bass sounds in separate devices, such as the Bass POD and the Bass POD Pro.) In addition to the models based on vintage gear, the J-Station includes sounds drawn from its own Millennium series (Crunch, Solo, and Clean), and these are some of its richest tones.

Amps can be mated to one of ten cabinets -- or to no cabinet, if you're feeding the J-Station to a standard guitar amp. Cabinet choice has a major impact on tone, so I was a little disappointed to find a relatively small selection. On the plus side, three of the ten cabinets are bass-oriented, including the powerful-sounding Folded Horn 1 x 18.

While the controls behave appropriately for each model, I did find I was able to take some -- such as the BlackFace -- beyond what I'd normally expect in the gain department. This flexibility was enhanced by the effects section, which packs a lot of punch considering the J-Station's compact size.

Effects
Although some of the J-Station's factory presets sounded over-processed for my taste, overall the J-Station makes very efficient use of its effects section. Compression is always available, as are delay, reverb, noise gate, and wah. The modulation effects include chorus, flanger, phaser, tremolo, rotary speaker, auto-wah, and pitch-shift/detune. These can be placed either before or after the amp model in the signal chain, a nice plus. All of the effects sound very good, and the aforementioned "over-processed" criticism is easy to fix with a couple of quick edits. I especially like that I could switch the compressor in and out with a button push.

(I like that they included a Hiwatt), but adds a couple of bass amps into the mix (based on Ampeg, SWR, and Trace-Elliot units), a major plus. (Line 6 addresses bass sounds in separate devices, such as the Bass POD and the Bass POD Pro.) In addition to the models based on vintage gear, the J-Station includes sounds drawn from its own Millennium series (Crunch, Solo, and Clean), and these are some of its richest tones.

Amps can be mated to one of ten cabinets -- or to no cabinet, if you're feeding the J-Station to a standard guitar amp. Cabinet choice has a major impact on tone, so I was a little disappointed to find a relatively small selection. On the plus side, three of the ten cabinets are bass-oriented, including the powerful-sounding Folded Horn 1 x 18.

While the controls behave appropriately for each model, I did find I was able to take some -- such as the BlackFace -- beyond what I'd normally expect in the gain department. This flexibility was enhanced by the effects section, which packs a lot of punch considering the J-Station's compact size.

Effects
Although some of the J-Station's factory presets sounded over-processed for my taste, overall the J-Station makes very efficient use of its effects section. Compression is always available, as are delay, reverb, noise gate, and wah. The modulation effects include chorus, flanger, phaser, tremolo, rotary speaker, auto-wah, and pitch-shift/detune. These can be placed either before or after the amp model in the signal chain, a nice plus. All of the effects sound very good, and the aforementioned "over-processed" criticism is easy to fix with a couple of quick edits. I especially like that I could switch the compressor in and out with a button push.

The original ToneWorks Pandora pocket-sized multi-effects processor, and its successor the PX2, created a personal signal processor with which guitarists of all levels could create professional quality sounds and compositions. ToneWorks now announces the introduction of the Pandora PX3, the newest generation of personal effects processors.

The ToneWorks Pandora PX3 has all of the same great features as its predecessors, plus new innovations that give guitarists even more options and expressive power. Quality effects such as compression, overdrive, distortion, reverb, wah and Intelligent Pitch-Shifting, are now complemented by 50 factory preset programs and 50 user-configurable presets. New functions include a phrase-trainer, which allows the user to digitally sample (up to 16 seconds at a time) and time-shift (up to 25% +/-) riffs from any recorded source, making it easy to learn difficult solos or phrases. In addition, the PX3's rhythm tracks contain bass lines which make jamming more realistic, fun and productive. Users can select any key for the bass part, as well as use the Intelligent Pitch-Shift function to create in-key harmony lines.

The Pandora PX3 features 56 types of high-quality effects, including a digital delay with up to 2 seconds of delay time, and a cabinet resonator feature to mimic the six most popular speaker cabinet configurations. The PX3 has 40 styles of built-in rhythm patterns (based on samples from classic analog and digital drum machines) for all major genres of music.
HRG RP 1.300.000

quality sounds and compositions. ToneWorks now announces the introduction of the Pandora PX3, the newest generation of personal effects processors.

The ToneWorks Pandora PX3 has all of the same great features as its predecessors, plus new innovations that give guitarists even more options and expressive power. Quality effects such as compression, overdrive, distortion, reverb, wah and Intelligent Pitch-Shifting, are now complemented by 50 factory preset programs and 50 user-configurable presets. New functions include a phrase-trainer, which allows the user to digitally sample (up to 16 seconds at a time) and time-shift (up to 25% +/-) riffs from any recorded source, making it easy to learn difficult solos or phrases. In addition, the PX3's rhythm tracks contain bass lines which make jamming more realistic, fun and productive. Users can select any key for the bass part, as well as use the Intelligent Pitch-Shift function to create in-key harmony lines.

The Pandora PX3 features 56 types of high-quality effects, including a digital delay with up to 2 seconds of delay time, and a cabinet resonator feature to mimic the six most popular speaker cabinet configurations. The PX3 has 40 styles of built-in rhythm patterns (based on samples from classic analog and digital drum machines) for all major genres of music.
HRG RP 1.300.000

For bass

The Roland SP606 Sampling Workstation with digital sound processing!

The Roland SP606 Sampling Workstation is a standalone phrase sampler featuring a PC-based virtual groovebox.

The SP-606 sampling workstation extends the legacy of the popular BOSS SP-505, offering 4x4 velocity pads, D Beam and V-LINK control and USB and CompactFlash compatibility.

Bundled with Cakewalk's new P606 phrase generator/virtual groovebox for ever lasting sample library and editing capabilities, the Roland SP-606 is all you'll need to create grooves that'll get you, or your audience, moving.

sampling workstation extends the legacy of the popular BOSS SP-505, offering 4x4 velocity pads, D Beam and V-LINK control and USB and CompactFlash compatibility.

Bundled with Cakewalk's new P606 phrase generator/virtual groovebox for ever lasting sample library and editing capabilities, the Roland SP-606 is all you'll need to create grooves that'll get you, or your audience, moving.

Part of the 1981 DOD Performer Series. A typical analog comb filter design in a floor unit. Has controls for delay time, sweep width and sweep speed. It really is a pseudo stereo unit in that the delay is mixed with the dry signal for one channel and the an inverted delay signal is mixed with the dry for the other.

delay is mixed with the dry signal for one channel and the an inverted delay signal is mixed with the dry for the other.

Zoom 9150 single-rack space, lightweight and versatile guitar preamp/multi-effects processor in very good condition. It has minor surface flaws but functions perfectly. This unit uses a 12AX7 preamp tube to color its tones. I believe these amps were made in the late 80's - early 90's. I am not the original owner. The unit is easy-to-use and capable of a wide variety of tones, from shimmering clean to heavy 80's - 90's distortion and sustain. The original AC adapter is included.

The unit holds 99 user patches ( and probably the same number of presets, but I don't know how to access those ). The interface is logically laid-out and the basics are very easy to master. Next to the LCD display are buttons/LED's for five fundamental effects parameters: Pre-Amp ( including distortion and compression ), EQ, Modulation effects such as Chorus and Flange, Delay, Reverb, and a Total parameter.

I've always liked Zoom's heavily-compressed distortion sounds, and have amassed quite a few of their devices over the years. However, I'm downsizing my collection since I currently mostly use just a small combo amp with reverb.

MADE IN JAPAN PLUS FOOTCONTROL ZOOM
HRG RP 2.5JT
LINK :
http://www.soundonsound.com/sos/1995_articles/apr95/zoom9150.html

tube to color its tones. I believe these amps were made in the late 80's - early 90's. I am not the original owner. The unit is easy-to-use and capable of a wide variety of tones, from shimmering clean to heavy 80's - 90's distortion and sustain. The original AC adapter is included.

The unit holds 99 user patches ( and probably the same number of presets, but I don't know how to access those ). The interface is logically laid-out and the basics are very easy to master. Next to the LCD display are buttons/LED's for five fundamental effects parameters: Pre-Amp ( including distortion and compression ), EQ, Modulation effects such as Chorus and Flange, Delay, Reverb, and a Total parameter.

I've always liked Zoom's heavily-compressed distortion sounds, and have amassed quite a few of their devices over the years. However, I'm downsizing my collection since I currently mostly use just a small combo amp with reverb.

MADE IN JAPAN PLUS FOOTCONTROL ZOOM
HRG RP 2.5JT
LINK :
http://www.soundonsound.com/sos/1995_articles/apr95/zoom9150.html

sold 28 nov 09

SOLD 5 OKT 09
kondisi 95% mulus

SOLD 19 NOV 09

sold 24 nov 09

SOLD 04 JUNI 08
Vintage effects,The Boss Percussion Synthesizer PC-2 Japan

sold 13 sep 09

sold 24 okt 09

sold 03 Nov 09

sold 23 Nov 09

sold 17 nov 09