Pedal Feature – Wampler Pinnacle Deluxe


Greetings, pedal seekers and tweakers.  I bring you news and tidings of pedals and such!  Today I’d like to talk to you about a great pedal company I think is underrated and not well known – Wampler Pedals.  Specifically I want to talk about the Pinnacle Deluxe, my current favorite distortion, but first allow me to give you some background info.  In fact, you have no choice in the matter (I’m beaming mind-control waves through the screen to keep your attention on every single glorious word…and you thought it was the Ritalin.  And the aliens.)

IMG_3127Brian Wampler started out modding pedals and even wrote a book (now out of print damnit) about pedal building and modification.  Since about 2006 he’s built a high quality product line that mostly consists of distortions/overdrives and ‘amp-in-a-box’ pedals with a few takes on modulation effects like delay, reverb, and an exciting new deluxe tremolo that I posted about previously.  He also offers a buffer and a compressor, the latter of which is currently on my board…not that you care.  But famous muckymucks like Brad Paisley who actually matter use them so you should care!  In addition I’ve begun to notice a lot of session guitarists and studios use Wamplers, which to me said, “Hey Nick!”  And then I was like, “What?”  And then my brain was all like, “Wamplers must be pretty god damn versatile to be used by so many people needing so many tonal options!”  Then I was like, “Brain, you might be on to something!”  My brain and I agree for once. Any company that can build such a reputation so quickly must be doing it right.  You might be thinking, “Come on, the Brad Paisley Drive?  I don’t want to sound like a country guitar player.  I play punk or metal, I’m super hardcore, and that’s not for me !”  Well I say ‘listen with your ears and not your dick’ (what, that’s not a saying?).  I’m no Brad Paisley fan, but I can’t deny a pedal that sounds fantastic.  Even if they called it the ‘Justin Bieber Drive’, I don’t care, it’s all about the tone, right?

Speaking of tone, we’re not talking about the Brad Paisley Drive so why did you even bring it up?  Kind of off topic, but anyway…The Pinnacle is like a Chipotle burrito chock full of distorted goodness.  Stay with me.  The guitar is your mouth and the amp is your ass.  Let them become one and you’ll be blasting diarrhea geysers of tone like volcanoes erupting into outer space like a true ass-tronaut!  This sexy red-sparkled contraption offers up everything from mild overdrive to fat and crunchy, super high gain distortion that borders on fuzziness, to scooping those mids, to the famous or infamous ‘brown sound’ (depending on your opinion of Eddie Van Halen).  I like the idea of tone that could potentially make people poop their pants, and I’d like to think Eddie’s was named after the elusive frequency.  Simmer down you damn hipster, I’m not that crazy about Van Halen either, I just admire the tone: high gain, crunchy heaviness with presence that’s not too treble-y or muddy.  That is what Nicky likes and again it’s about what pleases your ears, not imitation.   (But let’s be real, who wouldn’t enjoy playing to an arena of a bunch of drunken people who all crapped themselves at once?)  I haven’t been successful at making anybody poop yet, but don’t be scared because even if you hate Van Halen I’m convinced you could still produce distorted tones that are satisfying.  The Pinnacle goes way far beyond just emulating the EVH sound.

Tweakables: Quoted text is taken from the Pinnacle ManualIMG_3130

Volume – This perky knob adjusts the output level. Mr. Wampler says, “There’s plenty of volume on tap in either standard or Boost mode, so whether you want to go farther than your input level or just make sure it can do unity volume (the same level of signal going out as you feed it, when active), you’re covered. The Gain, Tone and Contour knobs, and the Boost toggle (or for Pinnacle Deluxe owners, footswitch) all have an impact on total output volume level, so you’re probably better off waiting to adjust the Volume until you’ve dialed in the other controls. Re-adjustment might be necessary if you get it to the desired level and still need to tweak the sound.”  He makes volume sound hard, but don’t worry, I have faith you can figure it out!

Gain – “This control, in conjunction with the Boost toggle (or, for Pinnacle Deluxe owners, footswitch), lets you dial in anything from a classic, almost laid back early rock tone all the way to modern high-gain.  Our users, from international pros to weekend warriors, all have their own favorite ways of using the pedal, so however you end up liking the Gain setting, that’s just fine.  The “Brown Sound” is in there, that’s the goal after all!  But in terms of how much distortion you want, there’s a great deal of flexibility and we encourage you to run through the whole gamut to get a good sense of how it works and responds before you settle on how you’ll use it.”  I agree.  The gain is incredibly touchy so you have really fine control of how much break up you want in that there tone of yours.  Also, I think it’s totally cool that this pedal is made to emulate a certain tone, yet it can also sound pretty much like any distortion/overdrive (and almost fuzz) you could want.  Extra points all around, Sir Wampler.

Tone –“This adjusts the frequency emphasis on the highs.  It interacts substantially with the Contour knob and  Vint./Modern switch.  There are several ways you can approach adjusting the Tone.  You could start with it maxed and roll it off until you like the amount of highs, or you could start with it lower and adjust it either direction if you want more or less.  Either way, it’s a fairly straightforward control, but the interaction with the other tonal adjustment options means you should expect to spend some time getting used to the overall tonal possibilities.”  Maybe this is a stupid thing to say, but it still surprises me how much control this knob has over the tone of the pedal.  It adjusts from way scary dark to shiny, bright and glittery.  I like to keep mine set from around noon to 3 o’clock depending on how bright I want it.

Contour –“This adjusts the frequency emphasis overall.  It interacts substantially with the Tone knob, and is affected by the Vint./Modern switch as well.  At noon, this knob gives you a balanced presentation of the overall frequencies; counterclockwise it becomes very midrange-forward, and clockwise it takes the mids out pretty heavily, contouring the sound for a very “scooped” tone.  A little adjustment goes a long way with this control.  The best approach would be to start with the Contour knob at noon, and adjust from there.  Of course, making such broad tonal changes, you’re going to want to adjust the Tone control in conjunction with the Contour knob!”  This knob is how you go from vintage to modern voiced gain.  I’m not usually a fan of scooped mids, but I’ve been digging the scoopage on the Pinnacle!  This is a useful feature for recording because I don’t have to have 7 pedals on hand (I do have them on hand anyway just because!  Pedals!!).  I can use the Pinnacle’s versatility to give it to me (ooh yea).  Typically I keep mine around 9 o’clock as I prefer more mids in the mix.

Vint./Modern Switch –“This control essentially sets the overall voicing of the pedal’s frequencies, to be either darker with a classic tonality or brighter and more modern if you’d prefer that.  Setting this up first will give you a good “starting point” for your tone, but it’s also useful if you’ve adjusted everything else and feel the overall tone needs to shift in a larger direction.”  Once again this feature makes this pedal great for the studio.  I wouldn’t say the change in voicing is incredibly drastic, however I would say it’s enough to be like two pedals in one.  Why do I like that idea?  That’s right, versatility, Stupid!  I prefer the vintage setting myself, but the modern is great for when you need to kick it up the gain some more.  The Pinnacle is perfect for intricate riffage and lead playing alike, and the ability to toggle between the two modes makes it well-suited for blues, jazz, rock, punk, metal, polka, muzak, easy listening, hard listening, and your mom.  Just kidding about that last one, don’t plug your mom into the pedal or vice versa!  I doubt that’s covered by the warranty…

(Pinnacle Standard Only) Boost Toggle –“This switch alters the internal gain structure of the pedal to bring much more drive, heavier and more aggressive distortion when engaged.  On the Pinnacle Deluxe, this functionality is found on  the Boost foot switch, for adjustment on the fly!”  I don’t use the boost a whole lot, but it does add a nice dose of gain to push the pedal a little further if you need extra cream in your crunch.  Brian Wampler says it’s not intended to be an actual volume boost but I swear my ears hear a boost in volume.  Could be my stupid brain perceiving something that’s not there…  There’s also an internal trim pot to adjust the output volume if you want to ‘go to 11’.  I do.  I do want to go to 11.

At first impression it’s easy to presume the Pinnacle (and Wampler pedals in general) aren’t intended to get too wild.  But it doesn’t take much knob-fiddling to realize it possesses a deliberate flexibility that could surprise the naughtiest of noise-makers and tone-chasers (especially when stacking pedals together.  This pedal stacks fat with fuzzes and other distortions as well as any gauntlet of modulation effects.  I like it stacked with an EQD Bit Commander>Wampler Pinnacle>Pigtronix Envelope Phaser.  It’s the fattest, funkiest, fuzziest synth sound from hell).  I’ve owned my Pinnacle for a while now and can still find new tones I didn’t know it could make every time I play.  The best part is that 99% of them are pleasing and musical, proving to me that Wampler pedals kick ass.  Even though Brian Wampler seems kinda nerdy and unassuming (I presume he smokes less weed than the goofs at ZVex or my silly neighbors at Earthquaker Devices), it doesn’t mean his pedals aren’t creativity-inspiring mean green tone machines much like those of the more experimental builders.  Just seems like most Wampler players are Nashville chicken pickers and not so much the shoegazers or experimentalists.  Part of this review is to spread the truth of the good word to the world:  Wamplers are for everyone!  Hallelujah!

Speaking from personal experience, Wampler pedals are rugged and could take any hard wample-stomp (I’m coining a new word…) from your combat boot, chuck taylors, or stilettos better than a fetishist’s balls.  Some pedal companies skimp on jacks and switches and whatnot, but not Wampler.  Rest assured that your pedal will sound and look great for a long time.  With a 5 year transferable warranty on a ‘Merican-made product you can’t go wrong!

For more info, please check out

What do you think about Wampler?  Love em, hate em, don’t care?  Make sure to leave a comment in the reply box at the bottom of the page!!!  Oh yea, and also be sure to subscribe to stay up-to-date with The Pedal File!

That’s all I got.  Thanks for reading!  Until next time…


The Pedal File

ZVex Fat Fuzz Factory Review

Jan. 19, 2014


Check 1…1, 2, aaaaaaand welcome to the next installment of Pedal File!  Today I’m going to covet the highly under-rated Zvex Fat Fuzz Factory (from now referred to as FFF for efficiency) and tell you what I think about their update to a solid 20-year-old design.  Also I had a go at making another video for your viewing enjoyment.

The original Fuzz Factory was released in the mid-90′s and can be heard on a lot of cool albums making lots of different noises from players of varied musical genres.  This is what made it appealing to me, and after I heard about the newly updated version this past year I figured I should own one.  The really cool thing that sold me on the FFF was that you still get an original Fuzz Factory circuit with the same controls/sound, but now with a toggle switch to add some crazy really way-down-low-pants-around-your-ankles-deep water-abyssal-penetrating-sub bass oscillation.  Not just one mode of sub-oscillation, but two, each with different tonal character and ability to create wild textures, sounds, feedback, pulses, cracks, moans, shrieks, and many other noises that sound wonderful but can (for real) hurt/damage your ears and (probably) attract the attention of distant alien civilizations.  On top of that, you won’t find any cheap components, jacks, knobs, or other tweakables on this one.  Despite its compact size, the FFF is a heavy piece of machinery built to handle your torture devices as well as put out an impressive array of pleasing and torturous tones.

Experimenting with the FFF is like lighting off fireworks in your hand.  If you’re not careful, one goes off too early, you end up with mangled appendages, but have a cool story to tell people at bars.  Admittedly, I’m the kid who lights the wolfpack on the ground and runs as far away as possible:  when messing with the knobs I keep the volume low until I’m sure the smoke has cleared and can approach a normal volume.   Seriously I can’t say it enough…This pedal can get super, duper loud.  But again, that’s why it’s cool:  dangerousness, my pet!

I have respect for ZVex as a company because on top of designing solid pedals they seem to value experimentation.  The manual doesn’t contain more than a few sentences to describe what does what to get what sound.  It even starts with an amusing disclaimer, “Although the five knobs are named for the parameters over which they seem to have the most control, please don’t hold us to it.”

I did my best to describe the controls in my own words.  Of course, you may end up more confused after reading what I have to say…


Volume – Output level.  This control is blazing.  I keep it from about 8 to noon.  All the way cranked I think you begin to implode and incinerate on a cellular level.

Gate – Like a noise gate.  For those unfamiliar, this kills noise after the end of sustain and is useful for really high gain without crazy amounts of hissing, noise, and feedback in between notes. Tweak to the right to eliminate noise, stopping just as it disappears, or you can use it to tune the feedback pitch in the words of Zachary Vex, “If you’re that kind.”  So yea, you can set what frequency at which your sustained notes feedback.   Speaking of which, by letting this pedal feedback and then turning knobs you can make moaning synth noises as if you’re turning a frequency knob.  This is however, not intuitive and you must use the knobs in conjunction with each other to get all the way from high to low.  It is, however, fun and sounds amazing.  Turning the knob to the left opens the gate.  *Pedalfile Note: when the gate is all the way down, the Stab knob should be turned all the way up to eliminate crazy squealing in between notes.

Comp – Adds attack characteristics when turned to the left and gets softer when turned to the right, and suddenly ‘pinches’ or tightly compresses the tone when all the way right.  Also tunes in “…fat feedbacky fuzz, if you’re that kind.”  Zvex suggests you lower the Stability and see what happens to this control….I did.  Ram-a-lam-a-ding-dong!  You can achieve different tones/effects and in most cases digitized ‘elephant making love to a pig’ fornicational noises by selecting the different modes of the pedal and then turning the Comp knob left and right.  (More about how the tones change with the toggle switched sub modes below).

Drive – This knob increases distortion when used as a “normal” fuzz and adjusts feedback pitch and tonal thickness, again, “…if you’re that kind. This control becomes meaningless when Comp is all the way right.”  But it’s so much more…It’s really interesting and to me sort of counter-intuitive that you can still get pretty gnarly fuzz tones with the drive knob turned down.  I don’t usually mark settings on a pedal or write them down, but it’s a good idea with this one.  Until you get the hang of the controls it can be hard to get back to the village once you’re too far into the dark enchanted forest and all the glowing eyes are upon you.  Just do us both a favor and write down your settings, mmkay?

Stab – Like what you do with a knife, or I guess it’s short for ‘Stability’.  But I like the idea of this knob increasing the amount of knives in one’s hand with which to stab.  Or you can think of taking your blade from dull and rusty to sharp and shiny.  ZVex says to “…use all the way right. Do not attempt to adjust this control below 2:00, unless you like your fuzz soft and squishy. Use to control feedback pitch. WARNING: Many “incorrect” settings on this pedal squeal. This may annoy the faint-hearted. If you use the example settings, you won’t get hurt. We don’t want to see anyone hurt.”  This is one area where I must respectfully disagree with Mr. Vex.  I like having this set low, sometimes even all the way down.  Saying this pedal squeals is an understatement, but if it’s being too unruly just turn the gate up until it kills the squeal.  It does make your fuzz soft and squishy, but to me it sounds good at times and adds even more tonal versatility.


One tonal offering I coaxed was a glitchy, synthy lower octave.  It tracked pretty well until I played complex chords, which turn into really cool bit-crushed, velcro-y, lo-fi weirdness.  When I plucked high notes, they seemed to almost arpeggiate while they sustained, then quickly died.  Another setting sounded like my amp and guitar were being eaten alive from the inside by some sort of crazy electronic circuit-eating virus.  There’s no taming the very low, rebellious and reed-like tones with some settings.  You’re best bet is to turn the Comp knob up and make fun blast off noises.  Turning the guitar volume knob also produces different squeals and conjures tones like a revving Atari racecar engine crashing into a nuclear reactor.  I was also able to achieve a beautiful hi-octave, almost ring-mod like tone.  Also, on the right night, when I turn my guitar volume down all the way, I’ve been able to pick up strange radio frequencies of ominous fundamental religious speeches.  It has freaked me out, man, on multiple occasions before I realized it was the damn pedal.

Those of you who like to play what you hear on the radio probably won’t be turned on by all this pedal offers.  I’m surprised though because any square law-abiding citizen can make this thing play nice.  At virtually any setting, by turning your guitar volume down, the tone can be very clean, crisp, and compressed like a tube amp with great pick definition.  Turn your knob back to ’10′ and you can be over-stimulating ear va-jay-jays with anything from smooth sexy fuzz, to highly compressed fuzz, to seriously scratchy Velcro fuzz, to hi-octave fuzz, to transistor radio fuzz, to peach fuzz, to fuzzy dingleberries.  As with most fuzzes though, it does not always play super well with buffers or compressors.  They change what comes out of the FFF, so keep that in mind when finding a spot on your board.

Sub-Mode Switch

The sub modes (2 & 3 selected with the toggle switch) are very cool little sub-oscillators, and I’m still learning new things about them every time I play.  I’ve really been into synth pedals lately and was pleased that by applying a little chorus or other modulation to one of these modes and dialing the comp knob properly I could sound like a convincing synth with a lot of great texture and surprising amount of fullness.  The oscillation speed and frequency can be controlled by turning the different knobs in different directions (seriously you have to tweak and listen to get a feel for this) and can be a slow tick or fast squealing, tunable, feedbacky noise.  Zvex says these modes sound great on bass, which I’m sure they do.  In theory, anything with extra bottom end should sound extra good when put through the FFF.  If you wanna make it fuzzy that is!  I recently used it on a recording with a drum machine, and it sounded like a drum kit made of broken glass played with sandpaper sticks while it was raining frozen nails.  Also this one time, I used the FFF with my wife’s keyboard and it also turned it into a beast like I gave it Dr. Jeckyll elixir.  It transformed into a monstrous ripping bass synth, like a fire-breathing Mechagodzilla.  In other words, it was fucking cool and now I look forward to hearing it on anything.


This pedal is first and foremost for grimy degenerates with dungeon basements and mad scientists who like to melt faces and face the unpredictable.  To truly get it, you have to play with it until it makes sense.  It’s like a magic eye, one day the image becomes clear.  The best place to start is with the suggested settings but these are just the tip of the teat.  Anyone who loves noise should own this pedal, and everyone who loves great fuzz and distortion should own this pedal.  I’m convinced your mom, a priest, rabbi, hipster, and/or donkey could use this pedal and find multiple settings they each love tailored to what their individual ears (be it human or donkey) think sounds good.

To bring forth as much beauty in pedal form as the Zvex Fat Fuzz Factory, I think that Zachary Vex character must be constantly high on peyote, steals his ideas from the CIA, or is a superbly creative and original inventor of silly boxes silly musicians like to step on with silly shoes (please don’t sport pointy elf shoes that look like they were made in the Great Depression)…or all of the above??  After spending time getting to know the Fat Fuzz Factory, I have one suggestion: that it be renamed.  My top three suggestions are ‘Morbidly Obese Fuzz Factory’, ‘Fat, Drunk, & Crapped Your Pants Fuzz Factory’, or the ‘Oprah Factory’.  Honorable mention is ‘Justin Bieber in 10 Years Fuzz Factory’.

And did I mention the warranty is good for life?  God Bless America!  God bless everyone!

Thanks for reading.


The Pedal File

Visual Sound Dual Tap Delay Vs. Earthquaker Devices Disaster Transport SR

Dec. 6th, 2013

Recently my wife and I attended a Reverend Guitars/Earthquaker Devices Q&A session at Guitar Riot where she won a Disaster Transport SR through their giveaway raffle.  (You should totally check out Guitar Riot if you live in or near NE Ohio.  Thanks again to them and EQD!!)  We of course were excited and began exploring it’s knobs about a week or so ago.  I thought it’d be cool to compare the Disaster Transport SR and Visual Sound Dual Tap Delay.   Check out the video.

Visual Sound Dual Tap Delay


It’s sound is clean and crisp, the controls are simple and nicely laid out, and every part seems to be high quality – like you could forget it was on a chair and your fat ass could come crashing down on it and not even a knob would snap off.  Anyway the Dual Tap Delay is a great hi-fi delay that is still able to get weird with analog-type self-oscillation, rhythmic stutter delays, and time-warp effects.  Visual Sound makes a point that this pedal is made to be intuitive without the need to read the manual.  Read it anyway, it’s short, explains everything well, and has cool suggested settings to get you started.

If you like to run stereo and/or have the amps to do so, this pedal will sound amazing and with two separate delay channels with the option to make one channel dry or effected.  It’s also great just using it for reverb or chorus, and it sounds awesome on vocals.  Delay A has a modulation knob for adding a really nice chorus to the effect, from subtle to vibe-like.  Both delays feature the ability to switch to manual control of the delay time if you like, and they sound really cool if you turn the knobs while a signal is repeating to create a warping effect.  Both also feature time division knobs that are set by the tap tempo button.  There are at least 16 ways to combine these divisions for sweet ass syncopated rhythms.  The Dual Tap has a really pleasant, warm sound with crystal overtones that will make your guitar shimmer like fairy dust without being too brittle (unless your tone is all treble and sucks to begin with).  It works well with distortion (not as well with fuzz or buckets of gain).  I’ve gigged and recorded with this pedal for a while though and it’s solid.

stereo output – internal switch to make 2nd output effected or dry
tap tempo button – 4 different time divisions in tap mode [quarter note, eighth note, dotted eighth, & triplet] on both channels
modulation – adds a watery chorus, ever so gentle vibe-y-ness to the repeats (only on 2nd channel)
trails – internal switch to turn this feature on/off
tone knob – like the tone knob on your guitar, but for the repeats
repeats knob – number of repeats
level knob
-also has an external input for tap tempo control

(Extra point to Visual Sound for designing custom metal soft-switch buttons that make the pedal super easy to turn on/off and are really really sturdy.  You don’t have to stomp them very hard at all, but this pedal has some weird desires and doesn’t mind the abuse.   I like to wear stilettos when I play mine.)

Earthquaker Devices Disaster Transport SR


Despite having only owned this pedal a short time, it quickly has become apparent how awesome and amazing it truly is.  This delay is more lo-fi sounding, and it genuinely recreates the warmness and drifty nuance of a real tape delay.  The controls are also nicely laid out (check out the manual as I’m pretty sure this is one of the only pedals in EQD’s line that includes one.  ‘Nuff said).  I wouldn’t recommend sitting your fat ass on this one as it’s a little lighter on materials.  Not to say it’s not durable or well-built because it is.  This pedal can handle abuse, just most likely not more abuse than an innocent pedal should usually receive.

The ‘Senior’ as I like to call it, or ‘Seniorita’ when I’m drunk, is great at making you sound like a wall (of sound) or like you’re way out on the edge of the universe listening to space sounds bounce off the edge (of the universe) and back into space while they swirl around planets and trail after comets and whatnot…  It can sound like an Echoplex, but with more character in my opinion.  The DT SR creates atmosphere that can put you in an instant trance.   Whether you want to play complex riffs with added dimension that inspires or be a noisey noisemaker and control peoples’ minds, these knobs can do it.

Again you can use the delays separately or together.  Delay A has a really nice phaser/flange-type modulation at low settings and an almost pitch shift/ring modulator sound at high settings of the Depth and Rate knobs.  Delay B has a sensitive Reverb knob that goes from none to a generous amount.  Mix the two together for deeply satisfying washes of atmosphere.  Standout features of this pedal are the bleed knob, the expression pedal inputs for it, and the repeats knob.  First, the bleed knob allows the two delays to run in parallel mode (two separate delays) or series/parallel mode (delay A feeding into delay B).  Its like Delay B is delaying the delay from Delay A.  And adding reverb.  Got it?  Good, stupid!  This allows for all sorts of combinations and trippy rhythms.  You can also experiment with the knob somewhere in between and get even more sounds.   Furthermore, you can have expression pedal control over this function.  You can also control the repeats of Delay A with an expression pedal for those times when you want to get all Johnny Greenwood and throw it in and out of self-oscillation.

modulation – (Delay A) depth/rate controls speed and amount – goes from subtle chorus-y to phase/flange to tidal wave pitch bends to ring mod-like super fast tremolo to pulsing alien spaceships to….you get the idea.
reverb – (Delay B) can be tweaked to induce all sorts of different sensual reverb sounds.
time – changes speed of delay from reverb-y slap back all the way to pretty spaced out repeats
repeats – changes amount of repeats.  Expression pedal control on Delay A
mix – changes amount of dry vs. wet signal.  Noon is 50/50, anything past that causes a volume boost.  It’s a good thing.
bleed –  allows the two delays to run in parallel mode or series/parallel mode .  You can feed delay A in to delay B without having delay B switched on for a cleaner rhythmic delay.
switching – This pedal features a cool switching system.  The outputs of both delays are always connected. This allows you to have trails by always leaving it on bypass or to use the bypass switch as the master on/off for true bypass.


Both of these pedals are worth their respective prices.  It just depends on what kind of sound and features you prefer for delay.  If you like something a little more familiar yet extremely versatile go with the Dual Tap.  If you like to experiment, find new sounds, and are a fan of analog tape echo, you won’t regret owning the Disaster Transport SR.  If you’re like me and are obsessed with having as many sounds as possible, buy them both!  Either way, both companies offer some form of lifetime warranties for their pedals so rest assured you’re making a good investment with the products proudly produced domestically by the good patriots of Visual Sound and Earth Quaker Devices.  If Jesus played guitar, he would use these pedals.  Thanks for reading.


The Pedal File