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Home , Acey Slade, Andy LaRocque, Billy Idol, Byron Stroud, Chris Chaney, Clint Lowery

Rock Distortion Overdrive Heavy Metal Distortion Multi-Voice Chorus Envelope Filter Stereo Flanger World’s most powerful Stereo Phaser Compressor/Sustainer single-effect pedals. Digital Delay Digital Reverb NEW! Analog Tube Overdrive NEW! Analog Distortion NEW! Analog Overdrive/Distortion NEW! Analog Distortion NEW! Lethal Analog Distortion NEW! The Weapon™ Whammy™ Bass Overdrive Encyclopedia of Tone Vol. 2 Bass Multi-Voice Chorus Dual Band Bass Compressor Bass Envelope Filter TABLE OF CONTENTS Hot Rod™ 7 The Notorious New DigiTech The one and X-Series™ for ™ Tone Driver™ 9 Why DigiTech single-effects X-Series™ Distortion only Whammy Bass Players Metal Master™ 11 Starts on page 7 Starts on page 27 Page 41 Starts on page 55 Multi Chorus™ 13 pedals stomp the competition. Synth Wah™ 15 Turbo Flange™ 17 (Besides awesome tone, it’s the extra details that count.) Hyper Phase™ 19 Main Squeeze™ 21 Recessed DigiDelay™ 23 knobs prevent Color-coded for X-Series power for DigiVerb™ 25 accidental foot easy identifi cation four-string folks. “adjustments.” on dimly-lit stages. NEW! Bad Monkey™ 29 DigiTech proudly Hot Head™ 31 Three times as Non-skid rubber introduces fi ve new NEW! heavy as the base. distortions to its ac- Our First Artist NEW! Screamin’ Blues™ 33 competition thanks to Studio-ready! Super-easy battery ac- claimed pedal line. Series Pedal NEW! Grunge™ 35 a cast metal body that X-Series, DigiTech cess even during a song From basic overdrive doesn’t slide around Page 39 NEW! ™ 37 Distortion, Artist and (drum solos are good for Optical illusion: to the deepest, dark- The Weapon™ 39 on stage. X-Series Bass models something!). Just use a ¼" Every X-Series est metal sounds, NEW! Six-year warranty feature an extra cabi- plug to push the pedal is actually these new pedals Whammy™ 41 proves we build these net modeling output release button instead seven pedals in cover the entire tone Bass Driver™ 55 for professional use allows you to go direct- of having to hunt for a one thanks to their spectrum. And at a Bass Multi Chorus™ 57 and abuse. to-mixing board. screwdriver. unique MORPH price that is hard to knob. believe. Dan’s The Man. Bass Squeeze™ 59 Bass Synth Wah™ 61 Fluckey/Adema • Rudy Sarzo/DIO • Doc Coyle/God All names listed are DigiTech users as udge our pedals by the company we keep. Forbid • Al Pitrelli & Angus Clark/Trans-Siberian reported to us and in no way constitute J an official or unofficial endorsement. Orchestra • Mike Scaccia/Ministry • / Everybody here and more have fired their old pedals and hi red ours. Join ‘em today. • Eric Dover/Alice Cooper • Marty Stuart • /Slipknot & • Josh Tony Rambola & Sully Erna/Godsmack Disturbed • & / Arnold/Chimaira & Steve Greg Valencia/Watch Them Die • KK Downing & Rand/Stone Sour • Brent Woods/Accidental Doll Phil Campbell/Motörhead Billy Martin/Good Smyth/Nevermore & /Judas Priest • Sonny Landreth • Dan / • Andy LaRocque & Mike James Fukai/Trust Co • Scott Charlotte • /Slipknot / Ryan Shuck/Orgy Palmer/Death By Stereo • Mike Einziger/Incubus Wead/ • Benny Rietveld/Santana • CJ Ian/Anthrax • Tim King, Byron Stroud & Christian Olde Jardel Paisante, Ahrue Luster & Laz Greg Bergdorf/Zebrahead • Merle Haggard • Daron Pierce/Drowning Pool • Peter Mayer/Jimmy Buffet Adam Zadel & Shaun Wolburs/ Dan Estrin/ Pina/Ill Niño • /Tribe Of Gypsies Malakian & Shavo Odadjian/ /Billy Idol • Vern Zaborowski & Chad Glass/SOiL Stephen Jack Owen/Adrift • James & • Marc Serrano/A /Jane’s Addiction • Joey Z/Life Of I Ginsburg/cKy • / • Cesar Carpenter/ Black & Rick Jackett/Finger Eleven Dozen Fluries • Christopher Amott, Agony • Metal Mike Chlasciak/Painmuseum Soto/Fueled II Fire • Bizz & Evil D/Genitorturers • / • Juan Alderete/Mars Volta Peter Sharlee D’Angelo & Michael Amott/Arch & Testament • /F5 • Billy Graziadei/Biohazard • Michael Charell & Simon Ormandy/Trapt Rob Enemy • Brett Danaher/Pat Green Band James “Munky” Shaffer/ • Michael Lockwood/Lisa Wilton/Queensrÿche & Soulbender Marie Presley Rick Mussallam/ • Tim

HotHot RRodod™ Rock Distortion 7

The Hot Rod™ delivers smooth, the other, from the ProCo® RAT, straightstraight uupp RRockock & RRolloll aandnd BBlueslues ddis-is- or a RAT with Teeth, to the ProCo® RAT ® tortion.tortion. BByy ffocusingocusing tthehe eentirentire pprocess-rocess- Boss DS-1 to the Arbiter Fuzz LEVEL TONE GAIN MORPH inging ppowerower ooff oourur AAudioDNAudioDNA™ chip into Face, and lots of unique rock thethe ddistortionistortion eeffect,ffect, tthehe HHotot RRodod iiss aableble distortion sounds in between. Boss® DS-1 toto ddelivereliver a wwideide rrangeange ooff rrockock ddistor-istor- Features LEVEL TONE GAIN MORPH tiontion ssounds,ounds, iinsteadnstead ooff oonlynly oonene ssoundound 7 Exclusive Distortion Morph control likelike ootherther ddistortionistortion sstomptomp bboxes.oxes. 7 Level, Tone and Gain controls Arbiter Fuzz Face 7 Selecting different distortion sounds on Spectral Contouring Equalization LEVEL TONE GAIN MORPH thethe HHotot RRodod iiss eeasy.asy. ByBy simplysimply rotatingrotating thethe 7 Normal (amp) and CIT™ Cabinet MorphMorph kknob,nob, yyouou wwillill hhearear vvariousarious rrockock Modeling (mixer) RAT with teeth outputs for direct-to- distortiondistortion ssoundsounds mmorphingorphing ffromrom oonene ttoo board or studio LEVEL TONE GAIN MORPH recording set level higher= set gain Metal Mike Chlasciak (Painmuseum/Testament) to match more bite to taste bypass

Tone Driver™ Overdrive 9

The Tone Driver™ creates rich over- TS-9 to the ® TS-808, drive sounds in any guitar amplifi er. What and lots of unique over- DOD® 250 makes the Tone Driver unique is that drive sounds in between. LEVEL TONE GAIN MORPH it has a wide range of overdrive distor- Features tion sounds. A multitude of possibilities 7 Exclusive Distortion Morph control Ibanez® TS-9 are available – from a Blues Solo tone 7 Level, Tone and Gain controls LEVEL TONE GAIN MORPH and beyond – instead of only one sound 7 Spectral contouring equalization like other overdrive stomp boxes. 7 Normal (amp) and CIT™ Cabinet Ibanez TS-808 Check out the Tone Driver’s various Modeling (mixer) outputs for LEVEL TONE GAIN MORPH overdrive distortion sounds by simply direct-to-board turning the Morph knob while you’re live or studio Blues Solo playing and listening as the pedal chang- recording LEVEL TONE GAIN MORPH ® ® es from the DOD 250, to the Ibanez set level higher= max gain to match more bite for given Greg Bergdorf (Zebrahead) bypass types

Metal Master™ Heavy Metal Distortion 11

The Metal Master™ is the perfect and everything in between, distortion stomp box for head bang- from Controlled Feedback to Controlled feedback ing heavy metal guitarists. There’s never a personalized Tour of Hell. LEVEL LOW HI MORPH been a more versatile metal distortion Features pedal. Demo it and you’ll hear why. 7 Exclusive Distortion Morph control Boss® Metal Zone Unlike other single-sound distortion 7 Level, Low and Hi frequency EQ LEVEL LOW HI MORPH boxes, the Metal Master lets you select controls from a wide range of heavy metal distor- 7 Spectral contouring EQ Death Metal tion sounds. Choosing different distor- 7 Normal (amp) and CIT™ Cabinet Modeling (mixer) LEVEL LOW HI MORPH tion sounds on the Metal Master is easy. outputs for direct-to-board By turning the Morph knob, you will hear live or studio recording Tour of Hell the Metal Master morph from the Boss® Paul Crook (Meatloaf) LEVEL LOW HI MORPH ® Metal Zone to a DOD Death Metal, set level lower= higher= to match more more bite bypass thump

Multi Chorus™ Digital Multi Voice Chorus 13

The Multi Chorus™ creates the lushest, sound or go with a Shimmer or fattest chorus sounds ever heard from a Slow Deep chorus. Rotary stomp box. That’s because the Multi Cho- Features LEVEL SPEED DEPTH VOICE rus lets you select up to 16 chorus voices at 7 Select from one to 16 voices the same time. There is also built-in voice 7 Level, Speed and Depth controls Slow Deep 7 Voice randomization randomization that increases as you add LEVEL SPEED DEPTH VOICE ™ voices to thicken the sound even further. 7 CIT Cabinet Modeling outputs can be enabled Lush Building a rich, natural sounding chorus for direct-to-board live or is easy. By simply rotating theVoice knob, studio recording LEVEL SPEED DEPTH VOICE you can add more chorus voices, starting “My X-Series Multi with one and going all the way to 16. You Chorus is magic in a Shimmer box. Seriously, it can start with a warm Lush chorus, move to was made by LEVEL SPEED DEPTH VOICE a classic Rotary wizards. Thanks Scott Ian (Anthrax) for the magic!!”

Synth Wah™ Envelope Filter 15

The Synth Wah™ delivers some of the Synth 1, Synth 2, Filter 1, Filter most unique envelope fi lter effects of any 2, and Auto Wah effects. Funky Envelope pedal on the market. The studio-quality ef- Features SENS CONTROL RANGE TYPE - setting 1 fects range from classic Funky Envelope fi l- 7 Seven envelope, fi lter and synth types ter sounds, to a Deep Sweep, or even a cool 7 Sensitivity, Control and Range knobs Deep Sweep

™ Vowel sound and vocal format, to cutting 7 CIT Cabinet Modeling SENS CONTROL RANGE TYPE - setting 4 edge Slow Synth tones and fi lter sweeps. outputs can be enabled for direct-to-board live or Vowel When you demo it, you’ll agree that studio recording the Synth Wah is the most comprehen- SENS CONTROL RANGE TYPE - setting 5 sive pedal in its class.To select different “The Synth Wah is the most envelope fi lter effects on the Synth Wah, creative pedal in Slow Synth my loop.” simply rotate the Type knob. You can SENS CONTROL RANGE TYPE - setting 4 select Envelope Up, Envelope Down, Jim Root (Stone Sour/Slipknot)

Turbo Flange™ Stereo Flanger 17

The Turbo Flange™ is the most advanced completely get the proverbial stereo fl anger pedal on the market, deliver- cradle rockin’. Twisty Flange ing seven distinct fl ange types – more than Features SPEED DEPTH REGEN TYPE - setting 1 any other fl anger pedal available. Dial 7 Seven fl ange types in different fl anging effects on the Turbo 7 Three fl ange voicings Filling Flange

Flange by rotating the Type knob. 7 Speed, Depth and Regen SPEED DEPTH REGEN TYPE - setting 4 Select between three different fl anger controls 7 Triggering and Step Jet Flange voicings, including Rise/Fall, Trigger up, capability ™ Trigger down and Step fl anging effects. 7 CIT Cabinet SPEED DEPTH REGEN TYPE - setting 5 All of these effects are designed for Modeling can be studio-quality performance. Go for a enabled for direct- Step Flange Twisty, Falling or Step Flange sound, or to-board live or studio recording SPEED DEPTH REGEN TYPE - setting 4 really crank up the Jet Flange sound to (Stone Sour)

Hyper Phase™ Stereo Phaser 19

A phase pedal is just a phase pedal, All of these are designed for right? Not to the guitar fanatics hid- studio-quality performance. Classic Phase ing in the rock ‘n’ roll underground of Features SPEED DEPTH REGEN TYPE - setting 2 Salt Lake City. They decided to create 7 7 different phase effect types Hyper Phase™, which offers seven differ- 7 Speed, Depth & Regen controls Steps ent phase shift types to choose from. 7 Triggering & Step capability SPEED DEPTH REGEN TYPE - setting 7 By simply rotating the Type knob, you 7 CIT™ Cabinet Model- can select from 4-stage, 8-stage, and 12- ing can be enabled for Triggered Phase direct-to-board live or stage phase shifting, Rise/Fall, Trigger up, studio recording SPEED DEPTH REGEN TYPE - setting 5 Trigger down, and Step phase shift effects. This menu will not only deliver the Classic Falling Phase

Phase sound, but will also give you Vibro SPEED DEPTH REGEN TYPE - setting 4 and Falling Phase as well as a Steps sound. Marc Serrano (ünloco/A Dozen Furies)

Main Squeeze™ Compressor/Sustainer 21

The Main Squeeze™ is the result of sound by using the Level, At- a collaboration between DigiTech and tack, Sustain and EQ controls. Chickin’ Pickin’

® dbx to create the world’s fi nest compres- Features LEVEL ATTACK EQ SUSTAIN sor/sustainer pedal. Using award-winning 7 dbx® OverEasy® studio-quality dbx OverEasy® compression technology, compression technology Rock Sustain 7 Level, Attack, EQ and Sustain the Main Squeeze delivers the absolute LEVEL ATTACK EQ SUSTAIN best compression and sustainer effects for controls 7 Normal (amp) and CIT™ Cabinet Big Squeezer guitar. Modeling (mixer)

You can have everything from a Light outputs for direct-to- LEVEL ATTACK EQ SUSTAIN sustain to a Rock Sustain, a classic Chickin’ board live or studio recording Pickin’ sound or use the Big Squeezer set- Light up to wring every last drip from your gui- “The Main Squeeze…hit a LEVEL ATTACK EQ SUSTAIN tar. Then fi ne-tune the overall compressed note and come back tomorrow.” Brent Woods (Accidental Doll)

DigiDelay™ Digital Delay 23

The DigiDelay™ delivers more power also set up classic Solo Delay than any other digital delay pedal on the and Slapback sounds. Tap- Tape Delay market. It has up to four seconds of delay, Tempo lets you set the repeat LEVEL REPEATS TIME MODE -setting 4 which is perfect for the built-in Loop func- time by the footswitch. tion, providing enough time to record a Features Chorus Delay typical rhythm pattern and have it loop. 7 Up to 4 seconds of delay LEVEL REPEATS TIME MODE - setting 5 You also get fi ve delay Mode types, 7 Seven different delay modes including: Mono, Stereo Ping Pong, Tape 7 Level, Repeats and Time controls Solo Delay 7 CIT™ Cabinet Modeling Delay (just like those 60’s tape echo LEVEL REPEATS TIME MODE - setting 2 chambers), Chorus Delay that adds a lush can be enabled for direct- to-board live or studio chorus-like effect to the delay, and Reverse recording Slapback Delay, a unique effect that repeats any- “I love this delay!” LEVEL REPEATS TIME MODE - setting 1 thing you play into it backwards. You can Phil Campbell (Motörhead)

DigiVerb™ Digital Reverb 25

The DigiVerb™ is the fi rst stomp box that Boing” when you dampen the delivers seven different true studio-quality strings. Plus there’s no reverb Reverse reverbs. The DigiVerb is unparalleled in tail fl utter as with some units, LEVEL EQ DECAY TYPE - setting 6 accurately simulating several room envi- which is especially important ronments. for long reverb decay settings. Surf

The Plate type adds edge to make your Features LEVEL EQ DECAY TYPE - setting 7 instrument stand out in the mix. Room 7 Seven different reverb types and Hall breathe warm space and air into 7 Level, EQ and Big Room any instrument. Church is perfect for Decay controls ™ LEVEL EQ DECAY TYPE - setting 1 soft acoustic playing. Gated and Reverse 7 CIT Cabinet Modeling can be deliver great special reverb effects. The enabled for direct- Smooth Hall to-board live or Spring is an accurate emulation of old tube LEVEL EQ DECAY TYPE - setting 3 “Tank” reverbs, and even goes “Boing, studio recording James Fukai (Trust Co.) Distortion Defined: Exceptional Tone. Introducing 5 new pedals that cover the spectrum. What counts most with guitarists Each is an exceptional value. is tone. We can’t seem to get enough From smooth, subtle overdrive to of it. the deepest, darkest metal sounds, So whether you’re just starting these new pedals cover the entire out or are a seasoned pro wanting to tone spectrum. add some new flavors to your current Not only do they make a guitar setup, look no further. and amp sing, but the dedicated cabi- DigiTech proudly introduces net emulation output lets you run five new distortions to its acclaimed direct into a mixer or recorder. pedal line. Read on to learn more. Bad Monkey™ Tube Overdrive Bad Monkey™ Tube Overdrive 29

The Bad Monkey™ Tube Overdrive gives 7 Faithfully maintains guitar’s tone your guitar amp a boost just when you 7 Level boosts the output level of your Punchy Drive need it. Its tonally transparent design pro- guitar signal 7 Low adjusts boost and cut off bass LEVEL LOW HIGH GAIN duces the smooth natural character of an frequencies over-driven tube amp without coloring the 7 High adjusts boost and cut off upper Wah Rhythm

tone of your guitar. harmonics LEVEL LOW HIGH GAIN Low and High tone controls give you 7 Gain provides smooth tube amp the fl exibility to boost or cut the bass and distortion to your sound Load Boost treble frequencies for just the right sound. 7 Dual Outputs. The Amp output is for connecting directly to a guitar LEVEL LOW HIGH GAIN Get a Bad Monkey and super charge amplifi er. The Mixer output features your amp’s tone. Cabinet Emulation circuitry for con- Texas Tone necting directly to a mixing board or Features recording device LEVEL LOW HIGH GAIN 7 Vintage overdrive tone

HotHot HHeadead™ Distortion 31

The Hot Head™ Distortion is a 7 Low adjusts boost and cut of bass multi-purposemulti-purpose ppedaledal fforor aanyny mmusicusic frequencies Classic Stack 7 High adjusts boost and cut of high stylestyle wwherehere ddistortionistortion iiss nneeded.eeded. frequencies LEVEL LOW HGHI GAIN Armed with fl exible Low, High, and 7 Gain provides mild to hot tube amp GainGain ccontrols,ontrols, tthehe HHotot HHeadead ccanan ddialial distortion British Modern inin justjust tthehe rrightight ttoneone fforor yyourour ssetup.etup. 7 Dual Outputs. The Amp output is LEVEL LOW HIGH GAIN If you just want a little dirt or you need for connecting directly to a guitar amplifi er. The Mixer output’s Cabinet Solo youryour aampmp ttoo ssoundound llikeike a ffullull sstack,tack, tthehe Emulation circuitry lets you connect

HotHot HHeadead lletsets yyouou rrockock wwithith tthehe bbest.est. directly to a mixing board or record- LEVEL LOW HIGH GAIN FeaturesFeatures ing device without having to mic up 7 Responds to playing dynamics Country Blues

7 Level controls the distortion output level of your LEVEL LOW HIGH GAIN guitar signal

Screamin’ Blues™ Overdrive/Distortion 33

The Screamin’ Blues™ Overdrive/Distor- 7 Low adjusts boost and cut of bass tion is designed for guitarists who need a frequencies 7 High adjusts boost and cut of upper Little Dirt pedal that responds to playing dynamics. harmonics Blues players in particular will 7 Gain sets the maximum distortion LEVEL LOW HIGH GAIN love how the Screamin’ Blues gives amount when playing your hardest them total control of their tone. 7 Dual Outputs. The Amp output is for Hot Rhythm Playing lightly gives you a mild over connecting directly to a guitar amplifi - LEVEL LOW HIGH GAIN er. The Mixer output features Cabinet drive, but dialing up the gain and digging Emulation circuitry lets you connect Squawkin’ in hard will make the Screamin’ Blues sing directly to a mixing board or record- with ultra-rich harmonics and sustain. ing device without having to mic up LEVEL LOW HIGH GAIN Features Screamin’ Lead 7 Subtle overdrive to scorching distortion 7 Sweet sustain for soloing LEVEL LOW HIGH GAIN

GrungeGrunge™ Heavy Grind Distortion 35

The Grunge™ pedal has a legendary Features statusstatus ffewew ppedalsedals hhaveave eeverver aattained.ttained. 7 Versatile distortion for the modern Raw Power guitarist DesignedDesigned fforor ccuttingutting eedgedge gguitaristsuitarists wwhoho 7 Awesome crunch and sustain LOUD LOW HIGH GRUNGE wantwant a uuniquenique ssound,ound, tthehe GGrungerunge pprovidesrovides 7 Level controls the distortion output Cutting Sustain thethe ttonesones ttoday’soday’s musicmusic requires.requires. level of your guitar signal 7 Low adjusts boost and cut of bass LOUD LOW HIGH GRUNGE Whether it’s chunky rhythm, heavy frequencies 7 High adjusts boost and cut of high grind,grind, oorr aamazingmazing ssustainingustaining lleadseads yyourour Heavy and Smooth after,after, thethe GGrungerunge ggetsets yyouou tthesehese aandnd eevery-very- frequencies 7 Gain controls distortion gain from LOUD LOW HIGH GRUNGE thingthing iinn bbetween.etween. moderate to extreme Just plug in and fi nd out why so many 7 Dual Outputs. Amp output is con- Insane necting directly to a guitar amplifi er. playersplayers hhaveave mmadeade tthishis ttoneone a ttopop ssellereller fforor Mixer output’s Cabinet Emulation LOUD LOW HIGH GRUNGE moremore tthanhan a ddecade.ecade. circuit lets you connect directly to a mixing board or recording device

DeathDeath MMetaletal™ Lethal Distortion 37

The Death Metal pedal is by far the 7 Level boosts the output level of your guitar signal Raw Power most extreme distortion you will ever 7 Low adjusts boost and cut of bass hear. Simply put, we have turned the gain frequencies LEVEL LOW MID HIGH up to “eleven” and ripped the knob off. 7 Mid adjusts boost and cut of midrange frequencies Cutting Sustain Level, Low, Mid, and High tone controls 7 High adjusts boost and cut of high LEVEL LOW MID HIGH provide fl exible tone shaping, so even frequencies 7 Dual Outputs. The Amp output is for Heavy and Smooth though this distortion is over the top, connecting directly to a guitar amplifi - your guitar is guaranteed to cut through. er. The Mixer output features Cabinet LEVEL LOW MID HIGH Emulation circuitry for a miked up Features amp tone when connecting directly to Insane 7 Maximum distortion for today’s metal a mixing board or recording console 7 3-band EQ for total control — but without having to mic up LEVEL LOW MID HIGH

The Weapon™ Signature sounds from Dan Donegan 39

Seven disturbingly unique signature as well as the amps and effects. tones from Dan Donegan of the multi- There has never been a pedal Rise & Intoxication platinum band Disturbed in a limited- likelike tthishis oone.ne. WWhetherhether yyouou aarere a edition DigiTech® effects pedal. DisturbedDisturbed ffanan oorr jjustust LEVEL CONTROL 1 CONTROL 2 TYPE Dan Donegan asked us to help him get wantwant ttoo aadddd ssomeome the tones that he achieved in the record- awesomeawesome ttonesones ttoo ing studio (with racks of outboard proces- youryour eeffectsffects aar-r- LEVEL CONTROL 1 CONTROL 2 TYPE sors) into one pedal he could use on stage. senal,senal, iit’st’s timetime Voices To do this we had to create a whole to pack the new advanced technology called limited edi- LEVEL CONTROL 1 CONTROL 2 TYPE Production Modeling™. For the fi rst time tiontion WWeapon.eapon. ever, Production Modeling allows you to Mistress 7 Includes dual LEVEL CONTROL 1 CONTROL 2 TYPE get the exact tones from different songs mixer outputs by modeling the production of the record,

WWhammyhammy™ The one and only. Accept no substitutes. 41 While fads and fashions may come my unique. Plus, the current Whammy can be and go, the true classics are always Whammy has added the versatility externally in demand. It’s been a decade since of MIDI control, making this time- controlled DigiTech® introduced the mind bend- less effect fl exible enough for any via MIDI. ing effects of the Whammy™ pedal. situation. From the rotary preset selection And the “Dive Bomb” Variable Detune Octave Up Pedal Steel Bend knob to the Ferrari red color; from Preset gives the effect of a the mechanical momentary switch to whammy bar pushed all the the exact same interval selections, it’s way to the body of the guitar. all here. 7 Real time pitch bending with a Experience the smooth pitch 4-octave range bends, rich detuning, accurate dive 7 Harmony bends and adjustable bombs, and fast tracking harmo- detuning ny shifts that makes the Wham- 7 Dry and effects outputs

DigiTech Single Effects Pedals…Chai n ‘em up! Hard Rock 43

These examples are just some of the Guidelines for connecting effects pedals: effects chains you can create using 7 Units that detect an envelope should our single-effects pedals. Each one be connected close to the guitar. 7 delivers a unique tone and sound. Connect EQ after your distortion. 7 Connect reverb units toward the end Use them to help you select the right of the effect chain. combination of DigiTech pedals to 7 Taking advantage of stereo develop the perfect sound for your connections will add depth and playing style. dimension to any application. DigiVerb DigiDelay Hot Rod

The Hot Rod is the perfect hard into the DigiVerb’s Smooth Hall rock pedal, letting you morph from (pg. 25) to fatten up rhythms and smooth to gnarly distortion sounds. DigiDelay’s Solo Delay setting Digital Digital Reverb Reverb Chorus

/Limiter Use the Hot Rod’s DS-1 setting (pg. 7) (pg. 23) to enhance solos. Distortion Multi-Voice Modulation Compressor

Metal Fusion 45

DigiVerb Turbo Flanger Metal Master Multi Chorus DigiDelay Tone Driver Main Squeeze

We start with the glaring metal Set the Tone Driver to the TS-808 tain, while the Multi Chorus’ Lush distortion of Metal Master’s Death the Turbo Flange’s Jet Flange set- setting (pg. 9) and experiment with setting (pg.13) and DigiDelay’s Solo Metal setting (pg.11) to deliver ting (pg.17) and using the DigiVerb’s the gain. The Main Squeeze’s Rock setting (pg.23) create a silky smooth head banging tone and sustain. Smooth Hall setting (pg.25). Sustain setting (pg. 21) will add sus- fusion tone. “Unchain” your sound by adding

Killer Solo Guitar Synth 47

DigiDelay DigiVerb Hot Rod Synth Wah Multi Chorus DigiDelay Death Metal Want a solo tone that sounds like the DigiVerb’s Smooth you used a refrigerator-size rack of Add unison synth lines to your lead Hall setting (pg. 25) and then to the effects? Use the Death Master’s Slow and Deep setting (pg.13). Note work by running the Normal output DigiDelay using the Solo setting Insane setting (pg. 37), the DigiDe- that this chain is an exception with of the Synth Wah set to the Deep (pg. 23). The Effect output then lay’s Chorus Delay setting (pg. 23) the chorus placed after the delay to Sweep setting (pg. 15) into the Hot goes to another amp for keeping the run into the Multi Chorus set to create a wide chorus sound. Rod on the Rat setting (pg. 7), use signals separate.

Blues Electro-Acoustic 49

DigiVerb Multi Chorus Screamin’ Main Multi Chorus DigiVerb Bad Monkey Main Blues Squeeze Squeeze Acoustic users will breathe new life into their sound using this This chain delivers tone that snarls. add the Multi Chorus to kick in a chain. Experiment with the Main setting (pg.25) into Multi Chorus set The Main Squeeze’s Rock Sustain Rotary sound (pg. 13). Then take it Squeeze’s Light setting (pg. 21) to at Slow and Deep (pg.13). Listen setting (pg. 21) adds extra sustain for over the edge by adding liveliness limit your peaks. Add a Bad Mon- to how big your sound becomes your solos. Set the Screamin’ Blues with the DigiVerb’s Room setting key for some punch (pg 29). Then when you stomp your monkey... so to the Little Dirt setting (pg. 33) and (pg. 25). use the DigiVerb’s Smooth Hall to speak.

Phaseadelic Country 51

DigiVerb DigiDelay Hyper Phase Main Squeeze DigiDelay Tone Driver Main Squeeze

For a really psychedelic clean sound, ting (pg. 19). Add the DigiDelay set Crisp and clean with just the right (pg. 23) for the perfect country pick- try this chain. Start with the Main to Tape Delay (pg. 23) and DigiVerb amount of sustain is what you get in’ slapback. Use the Tone Driver’s Squeeze’s Light setting (pg. 21) into set to Smooth Hall (pg. 25) for a by combining the Main Squeeze’s TS-808 setting (pg. 9) for an edgy the Hyper Phase’s Classic Phase set- truly ethereal experience. Chickin’ Pickin’ setting (pg. 21) with country-rock tone. the DigiDelay’s Slapback setting

Alternative Whammy 53

Multi Chorus Grunge DigiDelay Hot Head Whammy

That Seattle scene spawned a new to the Heavy and Smooth setting To get that classic octave up pitch ning to into a Hot Head, using the generation of guitar heroes with (pg 35) and the Multi Chorus set to bend made famous by guitar leg- Classic Stack setting (pg. 31) and their innovative, heavy driving the Rotary (pg 13) setting get you ends, we have the Whammy using then into a DigiDelay using the guitar riffs. Using the Grunge set sounding like Grunge Spirit. the Octave Up (pg. 41) setting run- Tape Delay Setting (pg. 23).

Bass Driver™ Bass Overdrive/Distortion 55

The Bass Driver™ is designed specifi- Then fine tune or modify them cally for bass. It creates rich overdrive with the Level, Tone and Blend SVT Grind or Growl sounds in any bass amplifier. Instead of controls. LEVEL TONE BLEND MORPH only one sound like other bass overdrive Features stomp boxes, the Bass Driver gives you Boss® Overdrive ODB-3 7 Exclusive Distortion Morph control the option of emulating a wide range of 7 Level, Tone and Blend controls LEVEL TONE BLEND MORPH bass overdrive distortion sounds like an 7 Normal (amp) and CIT™ ® ProCo™ Rat SVT Grind, familiar overdrive pedals, or Cabinet Modeling (mix- make up your own. er) outputs for direct-to- LEVEL TONE BLEND MORPH By simply rotating the Morph knob, board or studio re- cording without Fuzz you will hear various bass Fuzz and having to mic up Overdrive distortion sounds morphing LEVEL TONE BLEND MORPH from a Boss® ODB-3, to a Pro-Co® RAT. Chris Chaney (Jane’s Addiction)

BassBass MMultiulti CChorushorus™ Bass Multi-Voice Chorus 57

™ The Bass Multi Chorus is designed superchip), you can grow your 4-Voice Chorus specifispecifi callycally forfor bassbass toto createcreate thethe lush-lush- chorus from one Subtle voice est,est, ffattestattest bbassass cchorushorus ssoundsounds eeverver hheardeard (even that sounds richer than LEVEL SPEED DEPTH VOICE fromfrom a sstomptomp bbox.ox. TThat’shat’s becausebecause thethe most chorus pedals) all the 8-Voice Chorus BassBass MMultiulti CChorushorus lletsets yyouou sselectelect uupp wayway ttoo a 116-Voice6-Voice Shimmer.Shimmer. LEVEL SPEED DEPTH VOICE toto 1166 cchorushorus vvoicesoices aatt tthehe ssameame ttime.ime. Features For example, choose a 4-voice chorus to 7 Select from 1 to 16-Voice Shimmer fattenfatten tthehe mmixix oorr aann 88-voice-voice cchorushorus fforor aann 16 voices LEVEL SPEED DEPTH VOICE extraextra llushush ssound.ound. TTherehere iiss aalsolso bbuilt-inuilt-in vvoiceoice 7 Level, Speed & randomizationrandomization tthathat iincreasesncreases aass yyouou aadddd Depth controls Subtle voices,voices, tthickeninghickening tthehe ssoundound eevenven ffurther.urther. 7 CIT™ Cabinet By simply rotating the Voice knob Modeling for direct- LEVEL SPEED DEPTH VOICE

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BassBass SSqueezequeeze™ Dual Band Bass Compressor 59

™ The Bass Squeeze , which is designed ultimate tone-shaping tool for Thick Bottom specifispecifi callycally forfor bass,bass, isis thethe resultresult ofof a col-col- .

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BassBass SSynthynth WWahah™ Bass Envelope Filter 61

The Bass Synth Wah™ is designed lope, Synth 1, Synth 2, Filter 1, specifispecifi callycally forfor bassbass andand isis thethe mostmost versatileversatile Filter 2, and Octa Sub effects. Envelope w/Sub & Dry bassbass eenvelopenvelope fi lterlter pedalpedal onon thethe market.market. Features SENS CONTROL RANGE TYPE - setting 2 Why settle for one fi lter type when 7 Seven different envelope, fi lter, and youyou cancan cchoosehoose ffromrom seven different bass synth types Filter Sweep

envelopeenvelope fi lterlter types?types? 7 Sens, Control and Range knobs SENS CONTROL RANGE TYPE - setting 3 Dial in an Envelope with Sub and Dry 7 Triggering and Step capability sound,sound, oorr wwideide FFilterilter SSweep.weep. OOrr ggoo aallll ooutut 7 CIT™ Cabinet Modeling can be en- Octa Sub with Filter withwith aann eextra-funkyxtra-funky BBassass YYaa soundsound oror OctaOcta abled for direct-to- board live or SENS CONTROL RANGE TYPE - setting 7 SubSub wwithith FFilter.ilter. studio rec- Dial in different envelope fi lter effects on ording Bass Ya thethe BBassass SSynthynth WWahah bbyy ssimplyimply rrotatingotating tthehe SENS CONTROL RANGE TYPE - setting 5 TypeType knob.knob. PickPick fromfrom Envelope,Envelope, SubSub Enve-Enve- CoreyCorey LoLowerywery (Swit(Switched)ched)

Synth Bass Funk Slap Fusion Bass Bass 63

DigiVerb Bass Bass Bass Bass Bass DigiDelay Bass DigiDelay Bass Bass Multi Synth Synth Squeeze Multi Squeeze Multi Driver Chorus Wah Wah Chorus Chorus You will make heads turn with this Lay down the groove with the Use this chain to create an unbe- Your bass will growl like never before effects chain. The Bass Synth Wah Bass Squeeze Funk Slap setting lievably thick bass tone. The Bass using the Bass Driver’s Fuzz setting delivers a classic monophonic synth (pg. 59) for super slap ‘n’ pop Squeeze’s Mild Compression setting (pg. 55) in this head-ripping effects groove Bass Ya Sound (pg. 61) without tone. When you really want to (pg. 59) keeps your tone under control chain. Push the sonic barrier by add- a special pickup. Add the Bass Multi shake the booty, the Bass Synth by smoothing out the highs and lows. ing the Bass Multi Chorus’ Subtle set- Chorus 4-Voice setting (pg. 57) to wid- Wah’s Envelope w/Sub (pg. 61) Use the Bass Multi Chorus’ 8-Voice ting (pg. 57) and the DigiDelay’s Solo en the sound. Drip in a bit of DigiVerb adds more funk than you can setting (pg. 57) to add low end, and use Delay setting (pg. 25). Smooth Hall (pg. 25) for extra flavor. stand. the DigiDelay to add dimension. Hot Rod™ Tone Driver™ HEARING IS BELIEVING! Metal Master™ Multi Chorus™ Check out all of the great presets Synth Wah™ and effect chains Turbo Flange™ featured on our web site @ Hyper Phase™ Main Squeeze™ DigiDelay™ www.digitech.com DigiVerb™ Or phone up the guitar Bad Monkey™ fanatics hiding in the rock ‘n’ roll Hot Head™ underground of Salt Lake City at Screamin’ Blues™ 801.566.8800. Grunge™ Death Metal™ The Weapon™ Whammy™ Bass Driver™ Bass Multi Chorus™ All trademarks are the property of their respective companies. Bass Squeeze™ © 2004 Harman Music Group • Printed in USA. P/N 18-1503-A Bass Synth Wah™