About

A note hits the circuit, starts to give way, and your hands can pull something out of it that wasn’t there a second ago. Some old designs got that feeling exactly right. I’ve spent a lot of time with them because of it.

But I never cared much about owning a museum piece, or making another version of a pedal everyone has already had. There are enough copies. And there are plenty of good ideas in those circuits that never had to end where they did.

So I started building pedals around the parts that mattered to me: response, range, and the feeling that the sound is moving with you instead of sitting in front of you.

That extends to the way they look. A pedal lives at your feet, but it is still part of your instrument. I want each one to feel considered before you even turn it on.