A square wave generator bundled with a wave multiplier that can be momentarily or permanently activated.

The 127 Sint. fuzz has a distinctive tone and does not use any discrete transistors in the signal path's circuit. To generate the square wave analogically, it uses the 4000 series CMOS chips, invented in the late 60s.

The wave multiplier multiplies the wave generated by another, two or three octaves below. The result is like a ring modulator with a carrier frequency that follows the fundamental frequency of what was played.

This is an original circuit and it is inspired by the sounds of Anne Clark (St. Vincent).

Review by Pedais & Efeitos

Demo by  Victor Pradella

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127 Sint.

Das ist Lilo Delay.
Lisa Tap Delays kleiner Bruder. Es ist nicht nur eine reduzierte Version, es hat eine eigene Identität mit einzigartigen und unterschiedlichen Merkmalen und Funktionen! Mit Verzögerungszeiten von 40 ms bis 600 ms und mehreren Möglichkeiten zur Manipulation der Klangfarbe bei jeder Wiederholung. Es verfügt über Verstärkungs-, Rückkopplungs-, Filter-, Intensitäts- und Modulationsfrequenzsteuerung sowie über eine Multifunktionsaktivierung.

Genau wie beim Lisa nutzt die Delay-Schaltung des Lilo den CI PT2399 und mit ihm lassen sich klassische analoge Delay-Klangfarben mit CI Bucket-Brigade, tiefe Texturen ähnlich einem beschädigten Magnetband oder sogar absurde Klanglandschaften erzielen! Durch die Verwendung von Clean Signal Cut und wenn die Tempo- und Feedback-Regler auf Minimum eingestellt sind, stehen Ihnen Chorus-/Vibrato-Effekte mit Filter- und Gain-Steuerung zur Verfügung. Die Modulationsfrequenz hat einen weiten Bereich, der von einem sehr langsamen Vibrato bis hin zu Ringmodulatoren reicht.

This is Lilo Delay.
Lisa Tap Delay's little brother. It's not just a reduced version, it has its own identity, with unique and different features and functions! With delay times from 40ms to 600ms and several possibilities for manipulating the timbre in each repetition. It has Gain, Feedback, Filter, Intensity and Modulation Frequency control, in addition to multifunction activation.

Just like the Lisa, the Lilo's delay circuit uses the CI PT2399 and with it you can achieve classic analog delay timbres with CI Bucket-Brigade, deep textures similar to a deteriorated magnetic tape or even absurd soundscapes! With the use of Clean Signal Cut and with the Tempo and Feedback controls set to minimum, you have Chorus/Vibrato effects with Filter and Gain control at your fingertips. The modulation frequency has a wide range, ranging from a very slow vibrato to the territory of Ring Modulators.

Manual

Demo by Victor Pradella

Lilo Delay

The Formiga B. Drive can be used for bass, guitar or with any instrument that you may want to clip, distort and drown in harmonics.

With two parallel channels (Clean and Dirty), the final result is a harmonically rich distortion that greatly adds to your instrument tone. There are independent Low-Pass filters for each channel and three clipping options (Silicon, LED, OpAmp) that altogether offer a world of possibilities.

Review by guitar pedal X

Demo by ajwithjetpacks

Formiga B. Drive

The Lisa Tap Delay gives you a whole world of possibilities with absolute control over the repeated tone.

There are independent Volume controls for the clean and delayed signal, besides Filter (Filtro), Saturation (Saturação), and Modulation Intensity and Frequency on the repeats. Two Feedback options (Retorno), with the second one being activated by a momentary footswitch. Two kinds of preamps - Clean Buffer or Echoplex EP-3 circuit. Tails mode and True-Bypass. Tap Tempo with four subdivisions. Tempo knob control via an expression pedal. We hope you will spend hours finding countless newsoundscapes with the Lisa Tap Delay.

Demo by  Ricardo Marins Oficial

Review by The Gear Page

Lisa Tap Delay

The Ushuaia Drive has an original circuit developed by Cachalote, featuring a 100% analog signal chain with only discrete components. This overdrive pedal embodies a bold personality with an amp-like dynamic breakup. It delivers clean and transparent tones, featuring an extremely responsive low-gain, a versatile mid-boost, classic overdrive tones, and can transition all the way to a full-bodied drive, rich in bass with a fuzz-like texture.

Its circuit has two saturation stages. The first one uses a MosFET transistor, and the second one uses a BJT 2n2222a metal-can transistor. The combination of a transistor with more advanced technology with one with classic characteristics provides a dynamic, organic, and articulate tone. The Ushuaia Drive is true-bypass with an internal relay and a soft-touch footswitch. 

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127 Sint.

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Formiga B. Drive

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