The Heliotrope is an “analog bit crusher” of sorts. Since there is no analog to digital conversion happening it isn’t a true bit crusher, hence the name “Harmonic Pixelator”. It works with guitar, bass, keyboards, etc. We designed the pedal to be intuitive and easy to use even though what it is capable of sonically is actually quite complex and varied.

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Heliotrope

Die Trident A-Range-Konsole beherrschte die britische Aufnahmeszene in den späten 60er bis frühen 80er Jahren, was zum Teil daran lag, wie gut sie die Dinge klingen ließ. Das Herz des Geräts besteht aus einem diskreten Germanium- und Transformator-Vorverstärker, der so eingestellt werden kann, dass er allen Geschmäckern gerecht wird, von den Tönen eines Lou Reed bis zu den unscharfen Ausrastern eines Frank Zappa. Und natürlich verzerren, sättigen und wummern Konsolenvorverstärker, wenn man sie antreibt, und triefen vor Obertönen und anderen erwünschten tonalen Artefakten. Unser Airstrip destilliert diese legendären Sounds in einen Konsolenvorverstärker im Stompbox-Format mit einer Handvoll Extras. Ein diskreter Operationsverstärker, der auf einem alten UREI-Design basiert, sorgt auf Wunsch für einen satten Gain am vorderen Ende der Konsole. Auf der Rückseite sorgt ein geschmackvoller Höhenfilter für die richtige Helligkeit des Vorverstärkers und ein speziell ausgewählter Übertrager verleiht dem Signal einen Hauch von Eisen. Der Airstrip kann jeden erdenklichen Gain-Sound erzeugen, von warmen, „gemasterten“ Cleans bis hin zu knorrigen, kollabierenden Fuzz-Sounds, und bringt das Mischpult in einem viel handlicheren Paket auf dein Pedalboard.

The Trident A-Range console dominated the UK recording scene in the late ‘60s to early ‘80s, due in part to just how good it made things sound. The heart of the beast consists of a discrete germanium-and-transformer-equipped preamp that can be adjusted to suit all tastes, from the tones of Lou Reed to the fuzzy freakouts of Frank Zappa. And of course, when pushed, console preamps distort, saturate and heave, dripping with harmonics and other desirable tonal artifacts. Our Airstrip distills these legendary tones into a stompbox-sized console preamp with a handful of extras on offer. A discrete op-amp based on a vintage UREI design pushes the front end of the console into blissful gain if you want it. On the back end, a tasteful treble filter sets the luminosity of the pre to suit your rig and a specially-selected transformer adds a touch of iron to the signal. Capable of every gain sound imaginable from warm, “mastered”-style cleans to gnarly collapsing fuzz, the Airstrip puts the mixing desk on your pedalboard in a much more manageable package.

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Airstrip

The Bicycle Delay was something like an “Albert Hoffman -the inventor of LSD, which we all love- moment” (to quote a good friend and guitarist Neal Casal). I sat down with no plan of where I was going but to allow myself the freedom to be open to wherever the journey took me and just document the experience. Really a strange path to travel when it involves something as cerebral as programming software. Or maybe it’s not. Maybe that’s a pure form of creativity, to use the boundaries something so matter of fact as programming as a medium for art? The result was a pedal as autobiographical as any I have been involved in. The Bicycle Delay is a physical manifestation of the experience of consciousness, letting go of the desire to control everything, and maintaining a positive attitude to leave room for a positive experience.

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Bicycle Delay

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.

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Karma Suture Silicon

All the way back in the ‘40s, Fender introduced the Champ amplifier, then known as the Champion 800. After a lengthy series of part swaps and circuit revisions, Fender arrived at the 5F1, otherwise known as the “Tweed Champ,” named so because of its unmistakable wrapping. It featured just one knob—volume—that went to 12 (in your face, Nigel), and if you’ve ever played one, that’s about all it needs. Just that one knob can coax a myriad of tones from the humble circuit, from gently gritty cleans to honking, mid-heavy blown out distortion.

 Unlike most amp-in-a-box devices, the Formula 51 features a preamp, a discrete power amp simulator and an output transformer to deliver the full touch-sensitive Tweed experience, with a grip of extremely interactive controls. The Sag control loads down the transformer to your taste, giving you some real-deal blown-out leads with the twist of a knob. The Tone control is straight out of the vintage amplifier playbook, incorporating the mid scoop control of the Framus Cobra amp. This time-tested mod essentially turns the mid-leaning Tweed profile into the mid-scooped “blackface” sound of later Champs. Run it at 18V for more headroom or stack it with other pedals to really dig into that transformer!

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