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Home , Adema, Andy LaRocque, Billy Idol, Byron Stroud, Chuck Wright, Crossroads Centre

The Experience™ Page 8 Photo: Richard Peters/Authentic Hendrix LLC The Power to CREATE.

Crossroads™ The Eric ­Clapton pedal Page 10

Encyclopedia of Tone Vol. 4

Photo courtesy of Starfile The one and CROSSROADS™ only Whammy® Page 18 Artist Series Pedal Page 10 Presenting Crossroads, seven signature tones from the ­legendary Eric Clapton.

Photo: Chris Walter/Authentic Hendrix LLC X-Series™ Factory™ The JIMI HENDRIX Pedals Page 20-24 EXPERIENCE™ Artist Series Pedal Page 8 Sixteen tones from seven recordings modeled in conjunction with Eddie Kramer, the original engineer. The Notorious Overwhelming TABLE OF CONTENTS X-Series™ Overdrive Starts on page 22-42 Starts on page Synth Wah® 32 Artist Series Turbo Flange® 34 44-52 Jimi Hendrix Experience™ 8 Hyper Phase™ 36 Crossroads™ 10 Main Squeeze® 38 Black-13™ 12 DigiDelay® 40 The Weapon™ 14 DigiVerb® 42 JamMan® Distortion Looper/Phrase Sampler 16 Bad Monkey™ 44 Screamin’ Blues™ 46 X-Series™ for Whammy™ Hot Head™ 48 Bass Players The one and only 18 Grunge® 50 Starts on page 68-74 X-Series™ ™ 52 Optical illusion: DF-7™ Distortion Factory 20 X-Series™ Bass Every X-Series EX-7™ Expression Factory 22 Bass Driver™ 68 pedal is actually Hot Rod™ 24 seven pedals in Bass Multi Chorus™ 70 one thanks to their Tone Driver® 26 Bass Squeeze™ 72 unique MORPH Metal Master™ 28 Bass Synth Wah™ 74 X-Series power for Multi Chorus® 30 knob. low-end bass dwellers. What’s On Your Pedal Board? Everybody here and more use DigiTech pedals onstage and in the studio. Benny Rietveld/Santana • Tobin Esperance/Papa Roach • Chuck Garric/ • Adam Levine, James Valentine & Jesse Carmichael/Maroon5 • Clint & Corey Lowery/Dark New Day • Merle Haggard • Wayne Swinny/Saliva • Michael Lockwood/Lisa Marie Presley • /Anthrax • & /Disturbed • Acey Slade/Trash Light Vison- • Mike Miller/godhead • /Tribe Of Gypsies- • & KK Downing •

Mick Thomson- (Slipknot) Metal Mike Chlasciak (Halford/PainmuseuM) Michael Wilton (Queensrÿche) (Dark New Day) Judas Priest • Marc Serrano/A Dozen Furies • Jardel Paisante, Laz Pina & Ahrue Luster/Ill Niño • Metal Mike Chlasciak/Pain museuM-Halford • Danny Walker & Billy Stevens/Handsome Devil • Jeremy Popoff/Lit • Dan Palmer/ • Billy Graziadei/Biohazard-Suicide City • Paul Crook/Sabastian Bach-Meatloaf • Johnny Hiland • Dave DeRoo & Tim Fluckey/ • Redd Volkaert/Sessions • Mike Einziger/Incubus • Tyler Connolly, Dean Back, David Brenner/Theory Of A Deadman • Joey Z/Life Of Agony • /F5 • Greg Bergdorf/ • Daron Malakian & Shavo Odadjian/System Of A Down • Mark Clayton/Pitchshifter • Glen Drover/-Eidolon • Scott Gorham/Thin Lizzy • James “Munky” Schaffer/ • Doug Aldridge/ • Roger Glover/ • Jody Payne/Willie Nelson • Michael Wilton/Queensrÿche-Soul Bender • Andy LaRocque, Hal Patino & Mike Wead/ • David Lindley • Cinderella • Chad & Mike Kroeger/Nickleback • Joe Loeffler/Chevelle • Pete & Simon Townshend/-Solo • Mick Thomson & Jim Root/Slipknot •

Glenn Hughes Michael Amott ( & ) Virus (Dope) Jack Owen (Adrift, Deicide) Joey Z (Life of Agony) The DigiTech® users’ roster goes on and on! Michael Wagener/Producer • & / • David Byrne • Rick Mussallam/ • Jimmy & Peter Mayer/Jimmy Buffet • Nick Bacon/Lost City Angels • Dick Dale • & /DIO • Jim Root & Josh Rand/ • Chad I Ginsburg/cKy • Paul Phillips/Puddle Of Mudd • The Riddlin Kids • Vernon Neilly/Guitarist- Producer • Virus/Dope • Daniel Andriano/Alkaline Trio • Don Carr/The Oak Ridge Boys • Brett Danaher/Pat Green Band • Joey Jordison/Murderdolls-Slipknot • Sonny Landreth • Doug Wimbish/ • Phil Campbell/Motörhead • Richard Williams & Billy Greer/Kansas • Jon Reshard • Brent Woods/Wildside • Jerold Davis • & JJ Marsh/ Glenn Hughes • Bunny Brunnel • Tony Rambola & Sully Erna/ • Tim King, Adam Zadel & Shaun Glass/SOiL • Stephen Carpenter/ • Billy Martin/Good Charlotte • Burton Bell, Byron Stroud & Christian Olde Wolburs/ • Dan Estrin/ • • eViL J & Scott Roberts/ Otep • Mike Stone/Queensrÿche • James Black & Rick Jackett/Finger Eleven • Juan Alderete/Mars Volta • Fred Mascherino/Taking Back Sunday • Michael Amott & Sharlee D’Angelo/Arch Enemy • Greg Valencia/Watch Them Die • Dallas & Doc Coyle/God Forbid • Al Pitrelli & Angus Clark/ Trans-Siberian Orchestra • Mike Scaccia & Al Jourgensen/Ministry • /Billy Idol • Cesar Soto/Fueled II Fire • Jamie Miller/theStart • Kevin Dubrow, Alex Grossi & Chuck Wright/ • , Dave Murray & Janick Gers/ • Kelly Lemieux/Goldfinger • Sonny Mayo/ • Karl Cochran/Van Helsing’s Curse • Joe Lynn Turner

All names listed are DigiTech users as reported to us and in no way constitute an official or unofficial endorsement. KK Downing (Judas Priest)  Why DigiTech® pedals are the choice of GUITARISTS. (Besides awesome tone, it’s the extra details that count.)

Recessed knobs prevent Color-coded for accidental foot easy identification “adjustments.” on dimly-lit stages. Cast metal body Super-easy battery that is built like access even during a tank and equipped Studio-ready! a song (drum solos are with an anti-skid foot- X-Series, DigiTech good for something!). Just ing that won’t slide Distortion, Artist and use a ¼" plug to around on stage. X-Series Bass models push the release button Our warranty proves feature an extra cabi- instead of having to hunt we build these for net modeling output for a screwdriver. professional use and allows you to go direct- abuse. to-mixing board. The Jimi Hendrix Experience™ Signature sounds from Jimi Hendrix From the first time the world experienced Jimi Hendrix, things have never been the same. Now DigiTech is honored to be chosen by the Hendrix family to emblazon Jimi’s prophetic musical vision with a truly remarkable performance tool through Production Modeling™.

Introducing The Jimi Hendrix Experience™, a pedal built to capture the tones that changed guitar playing forever. Created in association with Eddie Kramer, the original recording engineer, so it accurately models Jimi’s incredible sounds! The Jimi Hendrix Experience™ Signature sounds from Jimi Hendrix  DigiTech® Production Modeling™ FS3X Hands-Free model ­duplicates distinctive tones from and tone control classic Jimi Hendrix songs including… (optional footswitch) “Purple Haze” Are You Experienced, ‘67 “Wind Cried Mary” Are You Experienced, ‘67 “Foxey Lady” Are You Experienced, ‘67 “Little Wing” Axis: Bold As Love, ‘68 “All Along The Watchtower” Electric Ladyland, ‘68 “Voodoo Child (Slight Return)” Electric Ladyland, ‘68 “Star Spangled Banner” Jimi Hendrix: Live at Woodstock, ‘69

™ © 2006 Authentic Hendrix, LLC. Photo: Ulrich Handl/Authentic Hendrix LLC Crossroads™ Signature sounds from Eric Clapton

In conjunction with Eric Clapton, we have helped ­recreate some of his most famous tones in a Digi- Tech® pedal by applying Production Modeling™.

“A fantastic innovation: 7 classic Eric Clapton sounds and more! - in one small pedal! – Lee Dickson Photo courtesy of Starfile Eric Clapton Guitar Tech Crossroads™ Signature sounds from Eric Clapton 11

If you’re a fan or DigiTech® Production Modeling™ just want to add some amazing ­precisely duplicates seven of Eric tones to your arsenal, Clapton’s distinctive tones Crossroads™ is a from classic songs: must-have “Sunshine of Your Love” Disraeli Gears pedal. “Crossroads” Wheels of Fire, Live at the Fillmore “Badge” Goodbye “” Layla and Other Assorted Love Songs “” Slowhand A portion of the proceeds from the sale of this pedal is being donated to Crossroads Centre, an international Centre of Excellence for “Layla” Unplugged LIVE the treatment of alcohol, drugs and other addictive disorders. “Reptile” Reptile Black-13™ Signature sounds from Scott Ian

Attention Tone Monsters!

Scott Ian delivers bone-crushing rhythms and some of the most scorching riffs ever nailed into a fretboard. Now Scott’s teamed up with DigiTech® to unleash Black-13™, a stompbox that lets guitarists dial up his signature sounds, giv- ing Anthrax and metal fans all the blistering tone they Photo: Chad Lee Black-13™ Signature sounds from Scott Ian 13

can handle. Simply put, DigiTech® Production prepared to be rocked by Modeling™ Delivers Seven of DigiTech® Production Scott Ian’s Tones from Metal Modeling™! Classics: Finally, heavy metal tone that “I Am the Law” was once reserved for only “Madhouse” listening on recordings or at-

tending a live show is now “March of the S.O.D.” S.E.D. available to experience on your own terms. “Protest and Survive” Attack of the Killer B’s “Room for One More”

Scott Ian of Anthrax “What Doesn’t Die” We’ve Come For You All The Weapon™

Seven disturbingly unique signature tones from Dan Donegan of the multi- ­platinum band Disturbed in a DigiTech® effects pedal. Dan Donegan asked us to help him get the tones that he achieved in the recording studio (with racks of outboard processors) into one pedal he could use on stage. To do this we had to create a whole new advanced technology called ­Production Modeling™. For the first time ever, ­Production Modeling allows you to get the exact tones from different songs by modeling Signature sounds from Dan Donegan 15

the production of the record, as DigiTech® Production Modeling™ well as the amps and effects. brings Dan Donegan’s studio First in our series of Artist sound to live performance: Pedals, there has never been a stompbox like 1. “” this one. Whether you 2. “Mistress” Believe are a Disturbed fan 3. “Voices” The Sickness or just want “Bound” Belie e to add some 4. v awesome tones 5. “Rise” Believe to your effects 6. “Stupify” The Sickness arsenal, it’s 7. Dan’s Personal time to pack Metal Master™ setting the Weapon. JamMan® Infinite Loop Possibilities

When we developed the PDS 8000 looper pedal almost twenty years ago, it stored 8 seconds of audio. Now we’ve reinvented it using removable CompactFlash™ memory to store up to 6.5 hours*! A wide range of features com- bined with ease of use make the DigiTech® JamMan® the perfect * With optional 2GB card looper/phrase sampler for practic- ing, composing and performing. FS3X (optional footswitch) Input audio can be from instru- Hands-Free control of ments, microphone or line level loop selection and auto record. A must have for the Jimi Hendrix Experience audio sources. Record your own JamMan® Infinite Loop Possibilities 17

loops and overdub them on the JamMan Possibilities are Endless! fly in studio or onstage. Connect to a computer via the USB port and transfer loops to a computer. Load up drum tracks, basslines, vocal and solo harmonies. The loop- ing possibilities are endless.

7 Records up to 99 loops with over 24 minutes of audio (.wav format) 7 CD quality 44.1kHz sampling rate 7 Balanced XLR mic input 7 USB Connection Whammy™ The one and only. There are no substitutes. While fads and fashions may come and go, the true classics are always in demand. It’s been a decade since DigiTech® introduced the mind bending effects of the Whammy™ pedal. From the rotary preset selection knob to the Ferrari red color; from the mechanical momentary switch to the exact same interval selec- tions, it’s all here. Experience the smooth pitch bends, rich detuning, accurate dive bombs, and fast tracking harmony Whammy™ The one and only. There are no substitutes.19 shifts that make the Whammy Whammy can be unique. Plus, the current Whammy externally has added the versatility of MIDI controlled control, making this timeless effect via MIDI. flexible enough for any situation. And the “Dive Bomb” Variable Detune Octave Up Pedal Steel Bend Preset gives the effect of a whammy bar pushed all the way to the body of the guitar.

7 Real time pitch bending with a 4-octave range 7 Harmony bends and adjustable detuning 7 Dry and effects outputs Distortion Factory™ Seven Classic Distortion Tones

Introducing the X-Series™ DF-7 Distortion ­Factory™: Seven radically different, tried- and-tested distortion tones integrated into a mild-to-wild DigiTech® X-Series™ pedal. Distortion is as important to the world of guitar playing as guitar playing is to modern music. And our new Distor- tion Factory™ is the most advanced dis- tortion pedal we’ve ever offered. We’ve modeled seven of the most popu- lar distortion stompboxes of all time and packed them into one pedal using ad- vanced modeling technology enhanced with powerful Flexible Output Mode™. Distortion Factory™ Seven Classic Distortion Tones 21

The Distortion Factory™ for an enormous distortion tone for models the tonal nuances, drive and either amps, mixer or both. vibe based on the ® TS-9*, 7 Unique carbon fiber finish DOD® Overdrive/Preamp 250*, 7 Amplifier and mixer Outputs Boss® DS-1™*, Pro Co Rat™*, Boss® 7 Non-skid rubber base MT-2 Metal Zone®*, DigiTech® Metal Master™* and Electro-Har- monix® Big Muff p®* — all in a single, convenient package. Features 7 Three dual concentric knobs for DigiTech, X-Series, Metal Master and DOD are trademarks of Level/Low, Mid Frequency/Mid, Harman International Industries, Inc. *Other product names Gain/High control used in this document are trademarks of their respective companies and are not associated or affiliated with DigiTech. 7 Variable stereo spectrum imaging They are trademarks of other manufacturers and were used and Flexible Output Mode™ combine merely to identify products whose sounds were reviewed in the creation of this product. EX-7 Expression Factory™ 7 Classic Expression Effects in 1

troducing Expression Factory™, the pedal that lets Iyou metatarsally modulate a whole pedal board of classic expression models. Select from the Dunlop® Cry Baby®*, Vox® Clyde McCoy Wah™*, Unicord Uni-Vibe™*, Leslie® rotary speaker*, A/DA™ Flanger* to models like our own highly collectable Space Station™ Synth Swell™ and the Whammy®. Thanks to two-in-one concentric controls, you can tweak three key controls of each expression effect and season them with your choice of seven classic distortion stompbox models piped in from our DF-7 ­Distortion Factory™. EX-7 Expression Factory™ 7 Classic Expression Effects in 1 23

Add Flexible Output Mode™, 7 Includes seven distortion tones from ™ cast metal treadle and sleek the DF-7 Expression Factory 7 Amplifier and mixer Outputs carbon fiber finish and you have an industrial-strength tool for anyone who likes to tread a treadle. Features 7 Three dual concentric knobs for DigiTech, X-Series, Whammy, Spac Station Synth Swell and Level/Low, Mid Frequency/Mid, DF-7 Distortion Factory are trademarks of Harman Gain/High control International Industries, Inc. *Other product names used in 7 Variable stereo spectrum imaging and this document are trademarks of their respective Flexible Output Mode™ combine for companies and are not associated or affiliated with an enormous distortion tone for either DigiTech. They are trademarks of other manufacturers and amps, mixer or both. were used merely to identify products whose sounds were reviewed in the creation of this product. Hot Rod™ Rock Distortion

The Hot Rod™ delivers smooth, straight up Rock & Roll and Blues distortion. By focusing the entire processing power of our AudioDNA™ chip into the distortion effect the Hot Rod is able to deliver a wide range of rock distortion sounds, instead of only one sound like typical distortion stompboxes. By simply rotating the Morph knob, you will hear various rock distortion sounds morphing from one to the other, our mod- el of the Pro Co Rat™*, or a Rat™ with hair,

Metal Mike Chlasciak (Halford/Painmuseum) Hot Rod™ Rock Distortion 25

to models based on the Boss®* DS-1™ to the Arbiter™ Fuzz based on Pro Co Rat™* ™* Face , and lots of unique rock LEVEL TONE GAIN MORPH distortion sounds in between. Features based on Boss® DS-1™*

7 Exclusive Distortion Morph control LEVEL TONE GAIN MORPH 7 Level, Tone and Gain controls 7 Spectral Contouring Equalization based on Arbiter™ Fuzz Face™ 7 Normal (amp) and CIT™ Cabinet LEVEL TONE GAIN MORPH Modeling (mixer) outputs for direct-to- board live or studio based on Rat™* With Hair

­recording LEVEL TONE GAIN MORPH set level higher= set gain Metal Mike Chlasciak (Halford/Painmuseum) to match more bite to taste bypass Tone Driver® Overdrive

The Tone Driver® creates rich over-drive tone in any guitar amplifier. What makes the Tone Driver unique is that it has a wide range of overdrive distortion sounds. A multitude of possibilities are available – from a Blues Solo tone and beyond – instead of only one sound like other overdrive stompboxes. Check out the Tone Driver’s various over- drive distortions by simply turning the Morph knob while you’re playing and listening as the pedal changes from a DOD® Overdrive/ Preamp 250 to a myriad of other models. Features 7 Exclusive Distortion Morph control Tone Driver® Overdrive 27

7 Level, Tone and Gain controls based on DOD® Overdrive/ 7 Spectral contouring equalization Preamp 250 7 Normal (amp) and CIT™ Cabinet LEVEL TONE GAIN MORPH Modeling (mixer) outputs for direct- to-board live or studio recording based on Ibanez® TS-9*

“…Before the beginning of the Mega- LEVEL TONE GAIN MORPH deth “The System Has Failed” world tour, I discovered this amazing unit and based on Ibanez® TS-808* immediately switched!

Unlike most other LEVEL TONE GAIN MORPH overdrive units, the Tone Driver does NOT “color” your sounds, Blues Solo but only gives you what you need! LEVEL TONE GAIN MORPH set level higher= max gain to match more bite for given Glen Drover (Megadeth) bypass types Metal Master™ Heavy Metal Distortion

The Metal Master™ is a serious distor- tion stompbox for head banging heavy metal guitarist and not for the faint of heart. Demo it and you’ll hear why. Unlike other single-sound distor- tion boxes, the Metal Master lets you select from a wide range of heavy metal distortion sounds. Choosing different distortion sounds on the Metal Master is easy. By turning the Morph knob, you will hear the Metal Master morph from our model of the Boss® Metal Zone®* to a DigiTech® Death Metal, and ev- Metal Master™ Heavy Metal Distortion 29

erything in between, from Controlled Feedback to a Controlled Feedback

personalized Tour of Hell. LEVEL LOW HI MORPH Features 7 Exclusive Distortion Morph control based on Boss® Metal Zone®* 7 Level, Low and Hi EQ controls LEVEL LOW HI MORPH 7 Spectral contouring EQ 7 Normal (amp) DigiTech® Death Metal™ and CIT™ Cabinet Modeling (mixer) LEVEL LOW HI MORPH outputs for direct- to-board live Tour of Hell or studio recording LEVEL LOW HI MORPH set level lower= higher= Dan Donegan (Disturbed) to match more more bite bypass thump Multi Chorus® Digital Multi Voice Chorus

The Multi Chorus® creates lush, fat chorus sounds not typical of a chorus pedal. That’s because the Multi Chorus lets you select up to 16 chorus voices at the same time. There is also built-in voice randomization that increases as you add voices to thicken the sound even further. Building a rich, natural sounding chorus is now easy. By simply rotating theVoice knob, you can add more chorus voices, starting with one and going all the way to 16.

Scott Ian (Anthrax) Multi Chorus® Digital Multi Voice Chorus 31

Features 7 Select from one to 16 voices Rotary Chorus 7 Level, Speed and Depth controls 7 Voice randomization LEVEL SPEED DEPTH VOICE 7 CIT™ Cabinet Modeling outputs can be enabled for direct- Slow and Deep to-board live or studio recording LEVEL SPEED DEPTH VOICE

“My X-Series Multi Lush Chorus Chorus is magic in a box. Seriously, it was LEVEL SPEED DEPTH VOICE made by wizards. Thanks for the Shimmer magic!!” LEVEL SPEED DEPTH VOICE

Scott Ian (Anthrax) Synth Wah® Envelope Filter

The Synth Wah® delivers some of the most unique envelope filter effects of any pedal on the market. The studio-quality ef- fects range from classic Funky Envelope fil- ter sounds, to a Deep Sweep, or even a cool Vowel sound and vocal format, to cutting edge Slow Synth tones and filter sweeps. When you demo it, you’ll see that the Synth Wah stands out in its class.To select different envelope filter effects on the Synth Wah, simply rotate the Type knob. You can select Envelope Up, Envelope Synth Wah® Envelope Filter 33

Down, Synth 1, Synth 2, Filter 1, Filter 2, and Auto Wah effects. Funky Envelope

Features SENS CONTROL RANGE TYPE - setting 1 7 Seven envelope, filter and synth types 7 Sensitivity, Control and Range knobs Synth Sweep

™ 7 CIT Cabinet Modeling SENS CONTROL RANGE TYPE - setting 4 outputs can be enabled for direct-to-board live or Vowel studio recording

SENS CONTROL RANGE TYPE - setting 5 “The Synth Wah is the most creative pedal in Slow Sweep my loop.” SENS CONTROL RANGE TYPE - setting 4 Jim Root (Stone Sour/Slipknot) Turbo Flange® Stereo Flanger

The Turbo Flange® is highly advanced stereo flanger pedal, delivering seven dis- tinct flange types. Dial in different flanging effects on the Turbo Flange by rotating the Type knob. Select between three differ- ent flanger voicings, including Rise/Fall, Trigger up, Trigger down and Step flanging effects. All of these effects are designed for ­studio-quality performance. Go for a Twisty, Falling or Step Flange sound, or really crank up the Jet Flange sound to completely get the proverbial cradle rockin’. Turbo Flange® Stereo Flanger 35

Features 7 Seven flange types Twisty Flange 7 Three flange voicings SPEED DEPTH REGEN TYPE - setting 2 7 Speed, Depth and Regen controls Falling Flange 7 Triggering and Step capability SPEED DEPTH REGEN TYPE - setting 4 7 CIT™ Cabinet Modeling can Jet Flange be enabled for direct-to- SPEED DEPTH REGEN TYPE - setting 1 board live or studio recording Step Flange

SPEED DEPTH REGEN TYPE - setting 6 Josh Rand (Stone Sour) Hyper Phase™ Stereo Phaser

A phase pedal is just a phase pedal, right? Not to the guitar fanatics of the rock ‘n’ roll underground of Salt Lake City. DigiTech decided to create Hyper Phase™, which offers seven different phase shift types to choose from. By simply rotating the Type knob, you can select from 4-stage, 8-stage, and 12- stage phase shifting, Rise/Fall, Trigger up, Trigger down, and Step phase shift effects. This menu will not only deliver the Classic Phase sound, but will also give you Vibro and Falling Phase as well as a Steps sound. Hyper Phase™ Stereo Phaser 37

All of these are designed for studio-quality performance. Classic Phaser Features SPEED DEPTH REGEN TYPE - setting 2 7 7 different phase effect types 7 Speed, Depth & Regen controls Step Phaser

7 Triggering & Step capability SPEED DEPTH REGEN TYPE - setting 7 7 CIT ™ Cabinet Modeling can be enabled for direct-to-board live Triggered Phaser or studio recording SPEED DEPTH REGEN TYPE - setting 6 “UHHHH is there any phase sound I can’t get out of this lil box??? It’s PHASE- Falling Phaser TACULAR SPEED DEPTH REGEN TYPE - setting 4

Marc Serrano (A Dozen Furies) Main Squeeze® Compressor/Sustainer

The Main Squeeze® is the result of a collaboration between DigiTech and dbx® to create a stand-out compressor/sustainer pedal. Using award-winning dbx® Over- Easy® compression technology, the Main Squeeze delivers fantastic compression and sustain effects for guitar. Have everything from a Light sustain to a Rock Sustain, a classic Chickin’ Pickin’ sound or use the Big Squeezer setup to wring every last drip from your guitar. Then fine-tune the overall compressed sound by using the Level, Attack, Sustain and EQ controls. Main Squeeze® Compressor/Sustainer 39

Features 7 dbx® OverEasy® studio-quality Chickin’ Pickin’ ­compression technology LEVEL ATTACK EQ SUSTAIN 7 Level, Attack, EQ and Sustain ­controls ™ Rock Sustain 7 Normal (amp) and CIT Cabinet

Modeling (mixer) outputs LEVEL ATTACK EQ SUSTAIN for direct-to-board live or studio recording Big Squeezer “The Main Squeeze has LEVEL ATTACK EQ SUSTAIN changed my life. It has Light Compression brought new meaning to LEVEL ATTACK EQ SUSTAIN Rock and Roll” Dan Palmer (Death by Stereo) DigiDelay® Digital Delay

The DigiDelay® delivers up to four sec- onds of delay, which is perfect for the built- in Loop function, providing enough time to record a rhythm pattern and have it loop. You also get five delay Mode types, including: Mono, Stereo Ping Pong, Tape Delay (just like those 60’s tape echo chambers), Mod Delay that adds a lush chorus-like effect to the delay, and Re- verse Delay, a unique effect that repeats anything you play into it backwards. You can also set up classic Solo Delay and Slapback sounds. TapTempo lets you set the repeat time by the footswitch. DigiDelay® Digital Delay 41

Features 7 Up to 4 seconds of delay Tape Delay 7 Seven different delay modes LEVEL REPEATS TIME MODE -setting 4 7 Level, Repeats and Time controls

™ 7 CIT Cabinet Modeling can be Chorus Delay enabled for direct-to-board live or studio recording LEVEL REPEATS TIME MODE - setting 5

“I love this delay!” Solo Delay

LEVEL REPEATS TIME MODE - setting 2

Slapback Delay

LEVEL REPEATS TIME MODE - setting 1

Phil Campbell (Motörhead) DigiVerb® Digital Reverb

The DigiVerb® is a diverse stompbox that delivers seven different studio-qual- ity reverbs in one pedal. The DigiVerb is engineered to accurately simulate several room environments. The Plate type adds edge to make your instrument stand out in the mix. Room and Hall breathe warm space and air into any instrument. Church is perfect for soft acoustic playing. Gated and Reverse deliver great special reverb effects. The Spring is an accurate emulation of old tube “Tank” reverbs, and even goes “Boing, DigiVerb® Digital Reverb 43

Boing” when you dampen the strings. Plus there’s no reverb Reverse Reverb

tail flutter as with some units, LEVEL EQ DECAY TYPE - setting 6 which is especially important for long reverb decay settings. Surf Reverb

Features LEVEL EQ DECAY TYPE - setting 7 7 Seven different reverb types 7 Level, EQ and Big Room Decay controls LEVEL EQ DECAY TYPE - setting 1 7 CIT™ Cabinet Modeling can be enabled for direct- Smooth Hall to-board live or LEVEL EQ DECAY TYPE - setting 3 studio recording James Fukai (Trust Co./Hematovore) Bad Monkey™ Tube Overdrive

The Bad Monkey™ Tube Overdrive gives your guitar amp a boost just when you need it. Its tonally transparent design pro- duces the smooth natural character of an over-driven tube amp without coloring the tone of your guitar. Low and High tone controls give you the flexibility to boost or cut the bass and treble frequencies for just the right sound. Get a Bad Monkey and super charge your amp’s tone. Features 7 Vintage overdrive tone Bad Monkey™ Tube Overdrive 45

7 Faithfully maintains guitar’s tone 7 Level boosts the output level of your Punchy Drive guitar signal 7 Low adjusts boost and cut bass LEVEL LOW HIGH GAIN frequencies 7 High adjusts boost and cut Warm Rhythm

upper harmonics LEVEL LOW HIGH GAIN 7 Gain provides smooth tube amp ­distortion to your sound Lead Boost 7 Dual Outputs; The Amp output is for connecting directly to a guitar LEVEL LOW HIGH GAIN amplifier. The Mixer output features Cabinet Emulation circuitry for Texas Tone connecting directly to a mixing board or recording device without having LEVEL LOW HIGH GAIN to mic up Screamin’ Blues™ Overdrive/Distortion

The Screamin’ Blues™ Overdrive/ Distortion is designed for guitarists who need a distortion that responds to playing dynamics. Blues players in particular will love how the Screamin’ Blues gives them total control of their tone. Playing lightly gives you a mild over drive, but dialing up the gain and digging in hard will make the Screa- min’ Blues sing with ultra- rich harmonics and sustain. Screamin’ Blues™ Overdrive/Distortion 47

Features 7 Subtle overdrive to scorching Little Dirt ­distortion LEVEL LOW HIGH GAIN 7 Sweet sustain for soloing 7 Low adjusts boost and cut of bass Hot Rhythm frequencies 7 High adjusts boost and cut of upper LEVEL LOW HIGH GAIN harmonics 7 Gain sets the maximum distortion Squawkin’ amount when playing your hardest 7 Dual Outputs; The Amp output is LEVEL LOW HIGH GAIN for connecting directly to a guitar amplifier. The Mixer output features Screamin’ Lead Cabinet Emulation circuitry that lets LEVEL LOW HIGH GAIN you connect directly to a mixing board or recording device without having to mic up Hot Head™ Distortion

The Hot Head™ Distortion is a multi-purpose pedal for any music style where distortion is needed. Armed with flexible Low, High, and Gain controls, the Hot Head can dial in just the right tone for your setup. If you just want a little dirt or you need your amp to sound like a full stack, the Hot Head lets you rock with confidence. Features 7 Responds to playing dynamics 7 Level controls the distortion output level of your guitar signal Hot Head™ Distortion 49

7 Low adjusts boost and cut of bass frequencies Classic Stack 7 High adjusts boost and cut of high frequencies LEVEL LOW HGHI GAIN 7 Gain provides mild to hot tube amp distortion British Modern

7 Dual Outputs; The Amp output is LEVEL LOW HIGH GAIN for connecting directly to a guitar amplifier. The Mixer output’s Cabinet Solo Emulation circuitry lets you connect

directly to a mixing board or record- LEVEL LOW HIGH GAIN ing device without having to mic up Country Blues

LEVEL LOW HIGH GAIN Grunge® Heavy Grind Distortion

The Grunge® pedal has a legendary ­status few pedals have ever attained. Designed for cutting edge guitarists who want a unique sound, the Grunge provides the tones today’s music requires. Whether it’s chunky rhythm, heavy grind, or amazing sustaining leads you’re after, the Grunge gets you these and everything in between. Just plug in and find out why so many players have made this tone a top seller for more than a decade. Grunge® Heavy Grind Distortion 51

Features 7 Versatile distortion for the modern Raw Power guitarist 7 Awesome crunch and sustain LOUD LOW HIGH GRUNGE 7 Level controls the distortion output level of your guitar signal Cutting Sustain 7 Low adjusts boost and cut of bass LOUD LOW HIGH GRUNGE 7 High adjusts boost and cut of high 7 Gain controls distortion gain from Heavy and Smooth moderate to extreme 7 Dual Outputs; Amp output is con- LOUD LOW HIGH GRUNGE nects directly to a guitar amplifier. Mixer output’s Cabinet Emulation Insane circuit lets you connect directly to a mixing board or recording device LOUD LOW HIGH GRUNGE without having to mic up Death Metal™ Lethal Distortion

The Death Metal pedal delivers extreme distortion for a distinctive metal sound. Simply put, we have turned the gain up to “eleven” and ripped the knob off. Level, Low, Mid, and High tone controls pro- vide flexible tone shaping, so even though this distortion is over the top, your guitar is guaranteed to cut through. Features 7 Maximum distortion for today’s metal 7 3-band EQ for total control Death Metal™ Lethal Distortion 53

7 Level boosts the output level of your guitar signal Death Scoop 7 Low adjusts boost and cut of bass frequencies LEVEL LOW MID HIGH 7 Mid adjusts boost and cut of midrange frequencies Smooth Sustain 7 High adjusts boost and cut of high LEVEL LOW MID HIGH frequencies 7 Dual Outputs; The Amp output is for Knife’s Edge connecting directly to a guitar ampli- fier. The Mixer output features Cabi- LEVEL LOW MID HIGH net Emulation circuitry connecting directly to a mixing board or record- Rectified ing device without having to mic up LEVEL LOW MID HIGH DigiTech®Effects Pedals…Chain ‘em up! Hard Rock

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.

Delay Digital Digital Reverb Chorus /Limiter Distortion Multi-Voice Compressor Modulation DigiTech®Effects Pedals…Chain ‘em up! Hard Rock 55

DigiVerb DigiDelay Hot Rod

The Hot Rod™ is a stand-out hard rock into the DigiVerb’s Smooth Hall pedal, letting you morph from smooth (pg. 43) to fatten up rhythms and to gnarly distortion sounds. Use the DigiDelay’s Solo Delay setting Hot Rod’s DS-1* model setting (pg. 25) (pg. 41) to enhance solos. Metal Fusion

DigiVerb Turbo Flanger Metal Master

We start with the devastating metal your sound by adding the Turbo distortion of Metal Master’s Death Flange’s Jet Flange setting (pg.35) Metal setting (pg.29) to deliver head and using the DigiVerb’s Smooth banging tone and sustain. “Unchain” Hall setting (pg.43). Metal Fusion 57

Multi Chorus DigiDelay Tone Driver Main Squeeze

Set the Tone Driver to the Ibanez® will add sustain, while the Multi TS-808* model setting (pg. 27) and Chorus’ Lush setting (pg. 31) and experiment with the gain. The Main DigiDelay’s Solo setting (pg. 41) Squeeze’s Rock Sustain setting (pg. 39) create a silky smooth fusion tone. Killer Solo Guitar Synth

Multi Chorus DigiDelay Death Metal

Want a solo tone that sounds like the Multi Chorus set to Slow and you used a refrigerator-size rack of Deep setting (pg. 31). Note that effects? Use the Death Metal’s Recit- this chain is an exception with the fied setting (pg. 53), the DigiDelay’s chorus placed after the delay to Chorus Delay setting (pg. 41) run into create a wide chorus sound. Killer Solo Guitar Synth 59

DigiDelay DigiVerb Hot Rod Synth Wah

(pg. 25), use the DigiVerb’s Smooth Add unison synth lines to your lead Hall setting (pg. 43) and then to the work by running the Normal output of DigiDelay using the Solo Delay set- the Synth Wah set to the Synth Sweep ting (pg. 41). The Effect output then setting (pg. 33) into the Hot Rod on goes to another amp for keeping the the Rat™* With Hair model setting ­signals separate. Blues Electro-Acoustic

DigiVerb Multi Chorus Screamin’ Main Blues Squeeze This chain delivers tone that snarls. add the Multi Chorus to kick in a The Main Squeeze’s Rock Sustain Rotary Chorus (pg. 31). Then take setting (pg. 39) adds extra sustain for it over the edge by adding liveliness your solos. Set the Screamin’ Blues with the DigiVerb’s Big Room to the Little Dirt setting (pg. 47) and setting (pg. 43). Blues Electro-Acoustic 61

Multi Chorus DigiVerb Bad Monkey Main Squeeze

Acoustic users will breathe new life Then use the DigiVerb’s Smooth into their sound using this chain. Hall setting (pg. 43) into Multi Experiment with the Main Squeeze’s Chorus set at Slow and Deep Light Compression setting (pg. 39) (pg. 31). Listen to how big your to limit your peaks. Add a Bad Mon- sound becomes when you stomp key™ for some Punchy Drive (pg. 45). your monkey... so to speak. Phaseadelic Country

DigiVerb DigiDelay Hyper Phase Main Squeeze

For a really psychedelic clean sound, Classic Phaser setting (pg. 37). Add the try this chain. Start with the Main DigiDelay set to Tape Delay (pg. 41) Squeeze’s Light Compression set- and DigiVerb set to Smooth Hall (pg. ting (pg. 39) into the Hyper Phase’s 43) for a truly ethereal experience. Phaseadelic Country 63

DigiDelay Tone Driver Main Squeeze

Crisp and clean with just the right Delay setting (pg. 41) for the amount of sustain is what you get perfect country pickin’ slapback. by combining the Main Squeeze’s Use the Tone Driver’s Ibanez® Chickin’ Pickin’ setting (pg. 39) TS-808 model setting (pg. 27) with the DigiDelay’s Slapback for an edgy country-rock tone. Alternative Heavy Delay

Multi Chorus Grunge

That Seattle scene spawned a new the Heavy and Smooth setting (pg. generation of guitar heroes with 51) and the Multi Chorus set to the their innovative, heavy driving ­Rotary Chorus (pg. 31) setting gear guitar riffs. Using the Grunge set to you sounding like Grunge Spirit. Alternative Heavy Delay 65

DigiDelay Distortion Factory

When you have a fine distortion pedal the Boss® DS-1™* (pg. 20) and plug it like the DF-7 Distortion Factory you into the DigiDelay using the Chorus really want the tone to come through ­Delay setting (pg 41). Depending on when you play. That said, this chain your tempo, adjust the Time knob to is simple. Use the DF-7’s model of get this syncopated rhythm. Whammy™ Octave Whammy™ Detune

DigiDelay Hot Head Whammy

To get that classic octave up pitch ning into a Hot Head™, using the bend made famous by guitar leg- Classic Stack setting (pg. 49) and ends, we have the Whammy using then into a DigiDelay using the the Octave Up (pg. 19) setting run- Tape Delay Setting (pg. 41). 67 Whammy™ Octave Whammy™ Detune

DigiDelay Screamin’ Blues Whammy This chain uses Whammy’s detune capabilities to create an extra thick create the texture you want. The guitar tone. Use the Whammy’s Screamin’ Blues set to Little Dirt Variable Detune setting (pg. 19) and (pg. 47) and the DigiVerb’s Smooth alternate between moving the pedal Hall setting (pg. 43) give this sound forward (deep) and back (light) to the finishing touch. Bass Driver™ Bass Overdrive/Distortion

The Bass Driver™ is designed to create rich overdrive sounds in any bass ampli- fier. Instead of only one sound like other bass overdrive stompboxes, the Bass Driver gives you the option of emulating a wide range of bass overdrive distortion sounds like an SVT® Grind™, familiar overdrive pedals, or make up your own. By rotating the Morph knob, you will hear various bass Fuzz and Overdrive dis- tortion sounds morphing from our model of a Boss® ODB-3™*, to our model of a Pro Co Rat™*. Then fine tune them with the Bass Driver™ Bass Overdrive/Distortion 69

Level, Tone and Blend controls. based on SVT™ Growl* Features 7 Exclusive Distortion Morph control LEVEL TONE BLEND MORPH 7 Level, Tone and Blend controls based on Boss® ODB-3™ Overdrive*

“The only overdrive pedal LEVEL TONE BLEND MORPH for bass that can deliver the power, the crunch, and the based on Pro Co Rat™* clarity needed to set your tone over the edge. LEVEL TONE BLEND MORPH This pedal is a monster!” Fuzz

LEVEL TONE BLEND MORPH

Tim King (SOiL) Bass Multi Chorus™ Bass Multi-Voice Chorus

The Bass Multi Chorus™ is designed specifically for bass to create a lush, fat bass chorus sound contained in a stomp- box. The Bass Multi Chorus lets you select up to 16 chorus voices at the same time. For example, choose a 4-voice chorus to fatten the mix or an 8-voice chorus for an extra lush sound. There is also built-in voice randomization that increases as you add voices, thickening the sound even further. By simply rotating the Voice knob you can grow your chorus from one Subtle voice all the way to a 16-Voice Shimmer. Bass Multi Chorus™ Bass Multi-Voice Chorus 71

Features 4 Voice Chorus 7 Select from 1 to 16 voices 7 Level, Speed & LEVEL SPEED DEPTH VOICE Depth controls 8 Voice Chorus 7 CIT™ Cabinet

Modeling for direct- LEVEL SPEED DEPTH VOICE to-board live or studio recording 16 Voice Chorus

“When I aim for the LEVEL SPEED DEPTH VOICE thick rich fat classic chorus tone, the Bass Multi Chorus is my Subtle Chorus weapon of choice.” LEVEL SPEED DEPTH VOICE

Rudy Sarzo (DIO) Bass Squeeze™ Dual Band Bass Compressor

The Bass Squeeze™, which is designed specifically for bass, is the result of a collaboration between DigiTech® and dbx® to create a phenomenal bass compressor/ sustainer pedal. Incorporating award-winning dbx OverEasy® compression technology, the Bass Squeeze delivers dual-band com- pression with variable crossover so you can independently control the com- pression of high and low frequencies. Add a Thick Bottom or a Glass Top. Go for a Mild Compression to a Funk Slap sound. This makes Bass Squeeze Bass Squeeze™ Dual Band Bass Compressor 73

a formidable tone-shaping tool Thick Bottom for bass guitar. LEVEL X-OVER LO-BAND HI-BAND Features 7 dbx® OverEasy® studio-quality Glassy Top ­compression technology LEVEL X-OVER LO-BAND HI-BAND 7 Separate Low & High Band controls Mild Compression 7 Level and Crossover controls LEVEL X-OVER LO-BAND HI-BAND

Funk Slap “The Bass Squeeze controls my bass without LEVEL X-OVER LO-BAND HI-BAND losing my tone.” Laz Pina (Ill Niño) Bass Synth Wah™ Bass Envelope Filter

The Bass Synth Wah™ is designed specifically for bass and is perhaps the most versatile bass envelope filter pedal on the market. Why settle for one filter type when you can choose from seven different bass envelope filter types? Dial in an Envelope with Sub and Dry sound, or wide Filter Sweep. Or go all out with an extra-funky Bass Ya sound or Octa Sub with Filter. Dial in different envelope filter effects on the Bass Synth Wah by simply rotating the Type knob. Pick from Envelope, Sub En- Bass Synth Wah™ Bass Envelope Filter 75

velope, Synth 1, Synth 2, Filter 1, Filter 2, and Octa Sub effects. Envelope w/Octa Sub

Features SENS CONTROL RANGE TYPE - setting 2 7 Seven different envelope, filter, and synth types Filter Sweep

7 Sens, Control and Range knobs SENS CONTROL RANGE TYPE - setting 3 7 Triggering and Step capability Octa Sub w/Filter “The X-Series pedals color my sound but SENS CONTROL RANGE TYPE - setting 7 doesn’t change the personality of Bass Ya my tone.” SENS CONTROL RANGE TYPE - setting 5

Corey Lowery Dark New Day Synth Bass Funk Filter

DigiVerb Bass Bass Multi Synth Chorus Wah

You will make heads turn with this effects chain. The Bass Synth Wah Bass Multi Chorus 4 Voice Chorus delivers a classic monophonic synth setting (pg. 71) to widen the sound. groove Bass Ya sound (pg. 75) Drip in a bit of DigiVerb Smooth without a special pickup. Add the Hall (pg. 43) for extra flavor. Synth Bass Funk Filter 77

Lay down the groove with the Bass Squeeze Funk Slap setting (pg. 73) for super slap ‘n’ pop tone. When you really want to shake the booty, the Bass Synth Wah’s Envelope Bass Bass w/Octa Sub (pg. 75) adds Synth Squeeze more funk than you can Wah stand. Fusion Bass Bass

Bass DigiVerb Bass Multi Squeeze Chorus trol by smoothing out the highs and Use this chain to create an unbe- lows. Use the Bass Multi Chorus’ 8 lievably thick bass tone. The Bass Voice Chorus setting (pg. 71) to add Squeeze’s Mild Compression setting low end, and experiment with the (pg. 73) keeps your tone under con- DigiDelay to add dimension. Fusion Bass Nu Metal Bass 79

DigiDelay Bass Bass Multi Driver Chorus

Your bass will growl like never before ing the Bass Multi Chorus’ Subtle using the Bass Driver’s Fuzz setting Chorus setting (pg. 71) and the (pg. 69) in this head-ripping effects DigiDelay’s Solo Delay setting chain. Push the sonic barrier by add- (pg. 41). HEARING IS BELIEVING! Photo: Richard Peters/Authentic Hendrix LLC Check out all of the pedal settings and effect chains featured on our web site @ www.digitech.com Jimi Hendrix and Eric Clapton Artist Pedals Danny Clifford Photo courtesy of Starfile/

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