The Bard is an homage to one of our favorite misunderstood amplifiers of the past: the Music Man HD130. Manufactured from 1974 to 1984, these amps combined a solid state preamp with a tube power amp, an unusual choice that lead to them being gravely underrated in their time. But the HD130 and its siblings are some of our favorite amps thanks to their pristine (but not quite vintage) clean tones, trashy overdrive, and very wide frequency response that suits both guitar and bass. Because we love a weird passion project, we editorialized our favorite parts of this cult classic into a compact overdrive pedal: The Bard.

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Review by reddit /guitarpedals

Review by guitar pedal X

Demo by ambienttrash

Demo by Mark Johnston

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The Bard

The exterior physical design (and our shared affinity for noise rock) informed the intent of the circuitry within: a versatile signal boost/overdrive with the potential for a razor-sharp treble response and excessively high output levels. The circuit itself is comprised of a discrete op amp gain stage with a treble boost in front, forming a densely textured upper midrange character laden with higher order intermodulation products. A mix of active and passive tone controls allows for dramatic alterations in sonic character. We also took extreme measures to engineer a high-quality power supply that is fully protected from excessive voltage, improper setup, and external interference.

Demo by Jon Jourdan

Demo by Strazburg

Review by delicious audio

0xEAE Boost

The Electronic Audio Experiments Halberd is a discrete transistor overdrive circuit designed for the greatest possible dynamic range and note clarity. It fills a special niche our family of drive pedals—a medium-gain device with the harmonic fullness and grind of a much higher-gain pedal, one that stands apart from both the brazen buzz of op amp distortion and the smooth breakup of JFET amp emulations alike.

The Halberd’s character comes from over a dozen transistors working in harmony. It is familiar but unique, sitting somewhere between blown-up tweed and an overloaded console. Rather than resigning itself to transparency, it imparts its character in a collaborative fashion, responding in unique ways to different instruments and amplifiers but not without leaving its distinct fingerprints. And of course, it is equally at home on guitar, bass, and synthesizer.

Review by Talk Bass.com

Demo by Noise Generator

Demo by collector//emitter

Halberd v2

Eldritch Blast is a fuzz built around a high-gain octave/intermodulation generator. This unusual transistor circuit is capable of heavy, complex riffs or touch-sensitive textures with a ripping, splatty octave up. And its switchable active EQ invokes sinister high-gain tones worthy of the outer gods.

The development of the Eldritch Blast has origins in the early days of EAE. It is a greatly expanded take on the Magic Missile Fuzz, an old design of ours which is an homage to the modern classic fuzzes of Devi Ever, Tim Escobedo, and all of the circuit-bending weirdos on ilovefuzz.com. We teamed up with Alec from Mask Audio Electronics (MAE) to flesh out and fine-tune the design, and together came up with a result which significantly diverged from the original Magic Missile circuit.

For Eldritch Blast Version 3, available starting in April 2023, we revisited the function of the Chaos toggle. Rather than the gated mode of previous iterations, the Chaos toggle now engages a dynamic oscillation mode that creates sub octave glitches, atonal arpeggios, and other strange sounds that we haven’t discovered yet.

Demo by Joel Gilardini

Official Product Video

Eldritch Blast v3

Sending is an analog delay that melds the archaic voice of bucket brigade devices with a fully modern toolbox of digital control. It embraces the character and idiosyncrasies of the medium while delivering high quality sound and performance-friendly features worthy of the modern musician.

Using two MN3005 BBDs and comprehensive analog processing techniques, Sending can delay a sound up to a full second without clock noise, and it can be pushed to even longer times for compelling sonic degradation. At the input is a discrete preamplifier capable of subtle enhancement or warm saturation that melds perfectly with the delay line. A dual-mode feedback filter shapes the repeats into deep pulses or dub-style bright echoes. Its flexible LFO engine can modulate the delay time to create gentle movement or musical chaos. Conducting this analog ensemble is a 32-bit, 100MHz processor granting deep user control, preset functionality, and MIDI access to every parameter.

Sending is our love letter to the antiquated yet enduring technology of analog delay. As you explore its many shades of interplay between past and future, we hope you find it as immersive as we do.

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