The Sinkhole is perhaps our most ethereal reverb unit to date. We’ve combined a harmonically-rich “hole” reverb with an impossibly deep four-voice chorus that’s been outfitted with a feedback control and a gentle high-cut filter. Within this arrangement, the feedback control allows the Sinkhole to reach deep within the reverb to extract some truly otherworldly tunable modulation, featuring everything from comb filtering to pseudo-phaser to haunting auto-filtering. That aspect never gets out of control; it’s all wrapped up within the confines of the reverb. We’ve stretched the reverb trails out to their absolute limit, with the maximum decay time almost freezing your signal in space. Extreme settings evoke warm synthesizer pads, reminiscent of vintage analog-digital hybrids, holding your modulated note indefinitely. Combine all that with a full wet-dry blend and a warm preamp circuit, and you’re beginning to feel the gravity of the Sinkhole. Let’s get pulled in, shall we?

Manual

Review by Gearnews

Review by reddit /guitarpedals

Review by musicradar

Demo by 60 Cycle Hum

Demo by SHOEGAZER CHANNEL

Product Page

Sinkhole Modulated Reverb

Das Catalinbread Topanga emuliert das legendäre Fender 6G15 Federhallgerät, welches quasi die Mutter des Surfsounds und der Soundtracks aller Spaghetti-Western ist. Teil der Magie dieses Hallgerätes war der Umstand, dass es in der Regel vorgeschaltet wurde was schnell dazu führte, dass das Hallsignal verzerrte und noch intensiver klang. Dieser Effekt ist heutzutage nicht so leicht zu reproduzieren, aber Catlinbread hat es mit einem zusätzlichen Preamp tatsächlich geschafft!

The outboard Fender 6G15 spring reverb unit is the sound of Surf guitar, Spaghetti Western and many other great guitar sounds from the sixties. Part of its magic, and how it differs from the internal spring reverb found in most Fender-style amps, is that it is run *in front* of the amp, causing the reverb signal to distort and sound more intense. Because there were additional knobs on the outboard units, you also have more control over the reverb qualities. The Dwell knob controlled how hard the springs were getting hit by the guitar signal. The Tone knob allowed the treble to be dialed back to just the right degree of brightness. It was also essentially a tube preamp, so it would color the sound going into the amp. All this added up to a very distinctive reverb sound with a lot of attitude and complex non-linearities that are hard to replicate. But we here at Catalinbread did just that! Besides giving you the classic three knob control compliment of the original, we’ve also added a great discrete preamp that you can control via the Volume knob for a healthy amount of great clean boost when you want it

Catalinbread Product Page 

Catalinbread Topanga Manual 

Catlinbread Topanga Demo by CME 

Catalinbread Topanga Spring Reverb Demo by Distortion LTD

Topanga

It’s uncertain what exactly the origin of flanging was. It could have been the result of trying to push the boundaries of multitrack recording, probably due to running a couple tape machines in parallel but not quite in sync… Maybe a guy messing around in the studio brushed up against a take-up reel flange accidentally?  Maybe that guy was Les Paul, maybe it was John Lennon and George Martin? It is unclear. But, what is clear is that the mechanical studio method of achieving the effect became, within a decade, commonplace enough for companies to simulate the effect electronically. The electronic approaches were pretty cool and groundbreaking, but by the 80s became tired and worn out. At Catalinbread we attribute this to the fact that these units controlled the flange effect using an LFO that went up and down at a predictable rate taking the life and freshness out of the effect. When we decided to design a flanger, we knew we would approach it the way they originally did it…

Official Product Video

Demo by ProGuitarShopDemos

Review by AMAZONA

Review by The Gear Page

Zero Point

We try out a lot of different circuits at Catalinbread when looking for new ideas, always looking for that spark of something special. During one such prototyping session, one circuit really stood out. We’re talking about a rare and obscure circuit known as the Harmonic Percolator. “Wow! There’s something to be mined here!” This circuit has the amazing property of generating predominantly even-order harmonics – which creates an amazingly sweet and clear distortion. 

You may know of this circuit from its use by Steve Albini, who owns one particular unit that apparently has magical properties no other unit seems to have. We could search for holy grails and chase rainbows, but we saw a potential beyond one person’s use of it. Oddly enough, the ‘Percolator has a reputation for creating an ugly sound, albeit a cool and ugly sound. But we found something beautiful in it. So beautiful that you could play complex jazz chords through it and every note rings sweet and clear. So, using the original circuit as the springboard, we created the Karma Suture.

Demo by Dennis Kayzer

Review by Musiker-Board

Karma Suture Silicon

Marshall amps helped supercharge the performance, and shape the sound of rock and roll. When the house lights dimmed, all you could see through the hazy darkness was the array of red pilot lights shining from a backline wall of Marshall stacks. In the absence of your own personal wall of Marshalls and the necessary road crew required to lug them around, the Dirty Little Secret (DLS) is the perfect secret weapon in your tone arsenal. This is your “always on” pedal, designed to be the “foundation” of your pedalboard, transforming any amplifier into those raging British stacks. It forms the core of your guitar sound which you can enhance and embellish by adding boosters, fuzzes, filters, and other overdrives in front of it.

Review by bonedo

Demo by AndyDemos