Guitar &
Bass magazine (UK) July 2007
Compressor-Limiter
Carl Martin wins an
pedal round up for compressor's as The Best Overall in Guitar & Bass
magazine (UK) July 2007 issue.
The Carl Martin is the most complex unit in this test, and will suit those
who have experience with studio compressors. This a studio quality unit that
can deliver everything from subtle squash to brick-wall limiting, the Carl
Martin is a do-it-all compressor.
Australian Musician Magazine
(Australia) June 2007
PlexiTone
This pedal has loads of
gain and bottom end, and it all sounds so 'Marshall' like. On top of that,
there is the boost channel which can add a further 20db of boost on top of
that, more than enough to kick any sluggish valve amp into action.
What I really liked is how the tone stays true Marshall, even by adding
loads of gain; you can dial back the tone a touch without losing and clarity
at all.
In general, I loved playing with this pedal and could easily see one working
its way into my arsenal of effects. Just the simplicity of getting a great
tone without any stress and the solidness of the whole thing make this pedal
very attractive to any guitar player. It would be one of those pedals you
could have in your gig bag for many years.
Experience the new standard and let the PlexiTone take you to the
stratosphere of high gain. Check one out now!
GUITAR WORLD (USA) MAY 2007
AC-Tone
Many manufacturers claim
that their pedals sound like an amp in a box, but only a select few products
truly earn this distinction. Carl Martin goes one better with its new
AC-Tone, which delivers tonal character and response similar to a classic
Vox AC Series amp.
It takes a while to get used to how the three footswitches operate, but once
you’ve got it down, it’s easy to pull three or four gorgeous Vox-like tones
from the AC-Tone with a few quick foot taps. Don’t devalue your amp with
mods: just get an AC-Tone, plug it to the amp’s input, and enjoy a whole new
palette of sounds
GUITARIST (UK) AUG. 2006
Hot
Drive´n Boost MK3
This has to be amongst
the very best overdrive pedals we’ve tried and, though either a wholly
clean, slightly crunchy or cooking amp, it authenticity replicates the tone
and, most importantly, feel of a driving valve amp. Soulful blues, rock and
all points between react beautifully to the pedal, and the boost option
gives you huge headroom too.
It doesn’t really do extreme metal or rock tones – use your amp drive to
really wind up the wick – but for everyone else, this is a versatile
overdrive/boost you have to try.
GUITAR BUYER (UK) APRIL 2006
Quattro
The Quattro answers a
need for a simple-yet-highly-versatile quality effects package for
pro-minded players.
Besides being compact and rugged, the Quattro has a very impressive
resistance to noise, and the effects all perform brilliantly.
No fuss, no worries. One box with some great effects. Boy, have we been
waiting for this!
GUITAR BUYER (UK) APRIL 2006
Custom
Shop 50
A powerful, sympathetic
amp, delivering both high volume and a liquid tone
This is simply an extremely well-made and great-sounding amplifier, that can
cover a wealth of styles with ease.
It's expensive, but in this case the sound and performance justifies the
price
BASSGUITAR (USA) January 2006
BassChorus
Who need the shimmering
beauty of a studio-quality chorus pedal like the Carl Martin Bass Chorus?
Well, as it turned out, I did-for one 8-bar, 14th fret bass intro to a
ballad, I though it was wonderful, delicate and warm.
There are two choruses! I marvelled at the way the effect ramped up and down
when I switched from one chorus and back again. I grinned when I realized
that I hadn’t lost any of the Beyoncé booty of my B-E-A-D-tuned 4-string.
Besides slow ballads, upper-register chords sound great through the Carl
Martin; tappers, soloists, and chord-proficient jazzers will love it’s
soulful, Hammond B3-like organ tones.
Those of you who play with picks and don’t shy away from lead bass might
find this makes your lines stand out in a whole new way. And everybody knows
that Eighties musical aesthetics are making a comeback, so next time you’re
ready to pull off a Peter Hook Bassline, plug in this pedal and give it a
whirl. You will not be disappointed.
VINTAGE GUITAR (USA) June 2005
DeLayla
XL
Starting with a delay
echo, it had that punchy, slightly distorted attack for which old Echoplex
machines are known. Its decay sounded identical, with tape deterioration
tone you simply cannot get from a digital unit – pure warm and nasty.
This pedal acts just like the real thing, but without the hassle of tapes
and unreliable electronics. We could easily tap out our tempo with our foot
with the tempo switch.
You’ll not find a more accurate-sounding tape delay unit than the DeLayla,
which is one of the most accurate representations we’ve heard.
VINTAGE GUITAR (USA) June 2005
Plexitone
We were greeted by nice
high gain that was very clear and natural with plenty of low end. We were
also able to dial back the gain to a slight, natural break-up. Dialing back
the tone tame the highs, the pedal never lost clarity – note separation was
always incredible, like plugging straight into an old Marshall plexi.
As we pushed the crunch, we got more gain without loosing the pedals natural
tone. We then hit the select switch to get even more gain, and the tone
always stuck with us – low-end does not go away.
Switching on the boost gave a dramatic bump up in headroom.
The Stratocaster sounded completely like it self, as did the Esquire, with
tons of smooth clear gain you’d expect from a plexi Marshall
GUITARIST (UK) March 2005.
Plexitone
An overdrive pedal with
five levels of drive is quite a luxury in itself, but it’s a real delight
when all the sounds are so rich and meaty.
We’re not sure whether Carl Martin intended to create a direct Marshall
tribute here (apart from the name, of course) but there’s definitely a
Marchall’esque quality to many of the sounds. Combined with a generous twist
of the tone knob, high settings on the crunch channel can sound quite like a
JCM 800.
Far less subtlety and tonal range is available from the high gain channel,
but that’s not a problem. This is where you can find that wonderfully spongy
distortion typical of a valve amp set to near-meltdown level. The response
is very smooth, with the natural compression or “sag” typical of real valve
amps.
GUITARIST (UK) March 2005.
DeLayla
XL
The DeLayla XL is warm,
dirty and thoroughly charming. After playing with this pedal for a couple of
hours, you you’ll properly start to wonder whether you’ll ever be able to
stand the sound of crisp, perfect digital delays ever again. Like real
well-worn tape, the DeLayla XL does a good job of filtering out higher
frequencies in the echo tone, meaning you can be a lot more liberal with the
effect than you would with a digital unit.
GUITAR WORLD (USA) December 2004.
Combinator 2
The Construction is
rugged, the layout clean and, most importantly, the sound is absolutely
pristine. For the dedicated stomp box user, the Combinator 2 is a
revelation.
GUITAR PLAYER (USA) April 2004.
HDB MK3
In Drive mode, I was
stoked with the range afforded by the Gain knob, which provided everything
from subtle splashes of dirt to complete molten meltdown.
The sound remained smooth and musical no matter how much distortion was
piled on, and dynamically sensitive to my picking attack and guitar’s
volume.
AUSTRALIAN MUSICIAN (Australia)
November 2003.
DeLayla &
HDB MK3
I confess no really
knowing much about Carl Martin guitar pedals before I took delivery of the
two review models. The first thing I noticed was how much the boxes weighed.
Carl Martin Pedals are Big, look stunning and appear to be indestructible.
Love at first sight.
AUSTRALIAN MUSICIAN (Australia)
November 2003.
HDB MK3
What makes the Hot
Drive'n Boost MK3 so good is it's versatility and the ability to incorporate
the pedal into you're existing set-up. The pedal has been designed with the
amp in mind, it does not change your existing tone, it compliment it. The
distortion is beautifully transparent and the different variations achieved
through using the MK3 can really add new dimensions to you're tone.
Basically, the Hot Drive'n Boost gives you the opportunity to go to
'eleven'.
For a distortion pedal, this unit is one of the quietest I have heard. A
full spectrum of distortion tones is achieved from slightly dirty blues
tones to full on screaming sustained metal tones.
This is perhaps one of the better distortion pedals money can buy. The pedal
even worked a treat when coupled with an acoustic guitar, and if it is
milky, clear distortion that you require this is the pedal for you.
AUSTRALIAN MUSICIAN (Australia)
November 2003.
DeLayla
Let me say straight off
the bat that the Carl Martin DeLayla is the best stomp box I have ever had
the pleasure of using.
After plugging in my guitar and hitting the on switch my jaw hit the ground,
this is the holy grail of guitar delay. The DeLayla sounds so much like a
tape delay, I tell you, the smile on my face started to hurt after a while.
The main delay is sweet and musical; think classic Jimmy Page or early U2.
The DeLayla sounded awesome when used as part of an effect loop. This unit
worked great on stage with absolutely no noise at all and was masterful in
the recording studio. I bussed this unit across a vocal with no apparent
problems, the low signal to noise ratio makes using the DeLayla in the
studio a piece of cake and I feel this unit is usable for far more than just
guitar tracks.
GUITAR PLAYER (USA) November 2003.
Two Faze
The Two Faze does indeed
sound an awful lot like the vintage Maestro pedal, producing thick and vibey
phase textures that range from very slow and swishy to gurgling to
ultra-fast. Like all Carl Martin pedals, the Two Faze is handwired in
Denmark using very high-quality components, so its operation is super-quiet,
and there are no pops or clicks when switching. You don’t get much control
over the sound, but you do get two speeds to choose from, and the sound
quality is excellent. Think of it this way: The Two Faze gives you two
classic phasers for less than you’d pay for a single original PS-1. Groovy.
Pros: Two phasers in one pedal. Cool vintage sound.
Cons: None.
GUITARIST (UK) November 2003.
Hot
Drive'n Boost MK3
The company says that it
will enhance any tube amp, and it sure looks like a survivor- it's built
like a small armoured car and has an integral power supply with captive
mains lead.
Once I'd lived with it for an hour or so I really started enjoying using
this Carl Martin, and it definitely seems to give you additional channels on
your amp.
I was able to go from clean to rock mayhem or dirty to all-out warfare
without any trouble at all. Drive always added subtle upper midrange body to
the sound in a way I liked, while the Wave control contributed gentle upper
end boost to give my sound a bit more edge and cut.
GUITARIST (UK) July 2003.
Two Faze
The Two Faze combines
the relatively gentle sounds of early phase shifter pedals with improved
sonic fidelity offered by modern technology.
Like all Carl Martin pedals, the Two Faze is well built, with an all-steel
chassis.
The drawback with units from the sixties and seventies, of course, is their
unreliability, but Carl Martin has shown once again how the addition of
carefully sourced and matched components to a classic pedal design can
provide the best of both worlds.
The Dual phaser is a great feature, and the overall quality, in terms of
design and sound, is worth paying extra for.
GITAAR PLUS (Netherlands) June
2003.
DeLayla
"Never did a
manufacturer of effect pedals succeed in building a small tape echo type of
effect as efficient as Carl Martin did." "Ventures and Shadows fans won't be
disappointed as the sound quality is at a much higher level than we are used
to with pedals."
GITAAR PLUS (Netherlands) June
2003.
Two Faze
"The Two Faze is not
just a Phaser, as I assumed. By the combination of the two effects you get
closer to a chorus, a tremolo or a vibrato. But these effects are much more
convincing with this combination in the Two Faze".
GITAAR PLUS (Netherlands) June
2003.
CM pedals
in general
"One of the most
important benefits of Carl Martin pedals is the built-in power supply...not
very often did I hear such noiseless pedals."
"Once you bought these pedals, you'll stick to them."
GUITAR BUYER (UK) Feb 2003.
Big John
If you're looking to
build up your own pedalboard, the Big John is one of the best-made units out
there at around this price range. Compared to the expense of having a
custom-made power-supply, investing in the bulletproof Big John will power
your pedals quietly and reliably, resisting the onslaught of your size 11 s
with ease.
GUITAR BUYER (UK) Feb
2003.
Two Faze.
Like the DeLayla, the
Two Faze presents all of the preferred analogue warmth and breadth without
the extraneous noise common to same older vintage phasers. Also, we
particularly like how the preset level of the effected signal balances
against the original guitar tone - even with the phase rate wound up to a
psychedelic burble, the primary tone remains true.
Again, a totally clean bypass tone and extremely low signal-to-noise ratio
rounds up the Two Faze into every bit the professional unit.
Silky smooth performance and superlative construction are two main factors
that elevate the Two Faze to the professional league.
GUITAR BUYER (UK) Feb 2003.
DeLayla
The 'tap' facility
certainly feels right on the money in terms of replicating the trickling
sound of a genuine multihead tape echo - minus the annoying mechanical
noises or humming as the tape begins to degrade. Setting up very
authentic-sounding vintage echo tones is very easy - we had bags of fun
wielding a Strat and the DeLayla to conjure up same cool Shadows
impressions.
Overall, the main delay has a very warm and musical quality that endears
itself quickly. Hooked into the FX loops an a pair of good quality
solid-state and tube guitar amps, the DeLayla performs well, adding a subtle
ambient halo to the guitar sounds, and unlike same other analogue delay
pedals, the DeLayla's low signal-to-noise ratio doesn't present any problems
when recording with the unit.
The DeLayla's appeal lies mainly in the extremely high build-quality and
simple, yet effective design. Hard working retro rockers disenchanted by the
high prices demanded for vintage tape echo devices will find this hard to
beat.
GUITAR BUYER (UK) Feb 2003.
CM pedals
in general.
Following their initial
release way back in 1993 (is it really that long ago?), Carl Martin pedals
quickly earned a strong reputation for producing studio-quality analogue
effects within the confines of just a humble stompbox. Alongside the
impressive build quality, another of the pedals' more interesting features
was that they were among the first to offer two-in-one functionality along
with a high-quality built-in power supply.
Australian Guitar Magazine (AU) May
2002.
Compressor/Limiter.
The Carl Martin on the
other hand almost lives up to its boast of studio quality compression.
Awesome clarity of sound, and very smooth threshold, compression, response
and gain Controls combine to create the sort of useable, sensitive sound
shaping any fussy player dreams of.
Australian Guitar Magazine (AU) May
2002.
TremO'vibe.
The tremolo (volume
variation) is nice and smooth and very sensitive to tweaking, and the
vibrato (pitch modulation) has enough range to make even the straightest
guitar line sound like a serious acid victim.
Australian Guitar Magazine (AU) May
2002.
The Fuzz.
Forget Fuzz, this is the
works.
As the name suggests, the Fuzz is here, from a Fuzz Face veil to a Big Muff
growl, you'll pull any classic psychedelic feel you like. But say you just
want a nice warm overdrive, or perhaps a hair metal solo tone, or even a
dirty punk rock buzz. They're all here, and not just in approximate form,
but as close to the real deal as almost anybody could want.
For studio applications this pedal is amazing, and on stage you'll get more
tones that you could ever use in one show, even if you can only use one per
song.
Australian Guitar Magazine (AU) May
2002.
Chorus
XII
My biggest gripe with
chorus pedals in general is that they all too often sound completely
synthetic, with no hint of an organic guitar sound behind the wash of
effect. The Chorus XII overcomes this more than any chorus pedal 1've ever
encountered.
This is a chorus pedal that is worthy of a place between an AC30 and Gibson
335, a complement to great tone and great playing, rather than a mask for
the opposite of those things.
Australian Guitar Magazine (AU) May
2002.
The Fuzz,
TremO'vibe, Compressor Limiter, Chorus XII.
Put simply, think of
these as the Rolls Royce’s of stomp boxes - constructed in Denmark to the
highest standards, the Carl Martin range not only offer unrivalled
workmanship, but also deliver some stunning innovations.
The most striking feature about the entire range of Carl Martin pedals is
the fact that they are silent not just very quiet, but silent. Recording
with these pedals into a Pro Tools system proved simply stunning - no hum,
even with three pedals in sequence. While this silence is probably less
crucial on stage, in the studio environment it is a godsend, and has
prompted many of the top guitarists in the world to take these pedals into
recording sessions with increasing regularity.
And while silence is golden, mains power is wonderful and bulletproof
construction highly desirable, it is really the sound we are interested in,
and fortunately the Carl Martin range is as good at making a noise as they
are at everything else. Looking at each of the four pedals we received in
turn, the tonal quality offered here is absolutely without equal.
Australian Guitar Magazine (AU) May
2002.
Combinator.
We all know the
frustration that can be associated with effects - there's not just the
problem of finding the right sound, you've then also got to be able to
summon that sound on a dimly lit stage after the best part of a six pack.
Combining effects has in the past always come with some degree of compromise
- either you compromise your tone and use a cheap multi effects unit,
compromise your bank balance and use a good multi effects unit or compromise
your sanity and learn to tap dance on your stomp boxes.
So, it is good news for guitarists everywhere that a few companies are
attempting to find a solution to these problems, and Carl Martin are leading
the way with their Combinator.
Lag time between patch changes is extremely short, and like all Carl Martin
equipment, the Combinator is very, very quiet.
The Combinator is beautiful in its simplicity, with both programming and
operation almost fool proof. The fact that the Combinator allows you to set
up patches, rather than just queuing pedals as you need them makes it a
dream. This is very much like having a programmable multi effects unit but
with the tonal superiority of dedicated analogue stomp boxes rather than
those often nasty digital effects in the all-in-one units.
GUITARIST (UK) Nov. 2001.
DeLayla.
The quality of sound is
excellent with a beautifully rich and organic tone, and there's plenty of
delay time for the majority of classic repeat effects.
The Delayla produces a stunning slap-back echo that sounds really
vintage-authentic, made bigger and richer with some of the tap effects mixed
in.
Guitar Player (USA) July 2001.
The
Combinator.
Programming the
Combinations is a snap. Simply press the large button next to each effect
you want in the preset, hit store, and you're done. Then with the touch of
one footswitch, you can get pedal combinations that would have taken
numerous foot-tapping moves and saddled you with shin splints or a
high-ankle sprain.
GUITARIST (UK) Spring 2001.
The
Combinator
The Combinator offers
enough flexibility for even the most demanding stompboxer in typical Carl
Martin style, the Combinator is very well made.
Everything about the Combinator proves to be of high quality. Operation is
almost entirely noiseless; any extraneous sound is likely to be down to the
effects units you use.
If you've ever tried to make a MIDI-controller agree with a range of
MIDI-compatible devices, you'll appreciate the simplicity of this device -
it really is a case of `plug and play'.
For a player who needs to combine the individuality of seperate stompboxes
with a sophisticated palette of sounds, the Combinator would make a
worthwhile investment and a loyal friend for many years.
Guitar Magazine (UK) March 2000.
The Fuzz
At the top end comes
Carl Martin and, for once, the extra money is fully justified. The added
dimension offered by its massive EQ allowance means this isn’t the most
straightforward of units to get accustomed to, but it’s surely the most
flexible, all-encompassing fuzz unit available today.
GUITAR WORLD (USA) January 2000.
Crunch
Drive - Rock Drive
Heavy Drive & Noise Terminator
The problem with many
distortion pedals is their attitude. Most expect to be used as the main
source of your gain-enhanced tone and show little respect for the
characteristics of your amp. These Carl Martin pedals don't assume you want
to transform your beloved, saggy AC30 into a spandex-ripping Triple
Rectifier. Instead, they simply give you another slice of what you already
like.
GUITAR WORLD (USA) January 2000.
Noise
Terminator
The Noise Terminator
worked extremely well, and without altering the original tone characteristic
of your setup.
Electronic Musician (USA) Dec.
1999.
Compressor/Limiter
The Carl Martin
Compressor/Limiter has more features than most dynamic pedals and sounds
better than many rack-mount processors.
Although the Carl Martin Compressor/Limiter is not exactly inexpensive, you
definitely get what you pay for. I've tried lots of dynamic pedals
(including the TC Parametric EQ/Sustainer), and nothing rivals this sound
and versatility. This box rocks!
Guitar Player (USA) August 1999.
3 band
parametric pre-amp
I could imagine a studio
player running almost everything through this pedal, sweetening or
sharpening tones to suit the situation. And, with its transparent gain, this
box is a great choice for anyone seeking a powerful, clean toned solo boost.
Guitar Player (USA) August 1999.
Compressor/Limiter
The CM
Compressor/Limiter may be the best sounding stomp box compressor I've heard,
and it gets an Editor's Pick Award.
GUITARIST (UK) May 1999.
Crunch
Drive-Rock Drive & Heavy Drive
There's hardly anything
to complain about with these pedals. The Danish designer these are created
by Holm Malmquist - certainly knows a thing or two about tone and how to
cram it into a little black boxes, so anyone looking to augment or upgrade
their pedalboard would do well to take a look.
Recording Magazine (USA) February
1999.
TremO'vibe
The TremO'vibe ducked so
close to silence at its lowest level that it sounded like the effect you'd
get from an old Würlitzer electric piano it sounded dynamite on keyboards.
Recording Magazine (USA) February
1999.
Compressor/Limiter
We had a chance to
compare the Carl Martin to a couple of similar priced, and more expensive
rack mount compressors, including a popular rack tube/optocompressor. The CM
was brighter, had a snappier response and offered more range of tone and
tweak.
GUITARIST (UK) December 1998.
TremO´vibe
I'd expected the pedal
to sound good, but not quite this good! The warmth and smoothness of both
effects is simply second to none, while the bypass function is quiet as a
church mouse who's just spotted Tiddles The Pulpit Killer on the prowl.
Guitar Magazine (UK) Nov. 1998.
Boost
Kick
If getting your solos to
cut through the cacophony of the band is a bit of a problem, it would be
worth checking out this little cracker.with a potential 12dB boost and Carl
Martin´s fab EQ, hitting the right sound at the right level is a breeze. In
front of a loud overdriven Marchall, the leap is one of the finest - if not
very best - I've encountered.
Guitar Magazine (UK) Nov. 1998.
Rock
Drive
This is one of the best
overdrive units I've heard and a pleasure to play.
Guitar Magazine (UK)
Nov. 1998.
THE FUZZ
Weighing in a
considerable £145, this unit really needs to deliver the goods to justify
the bottom line - and thankfully it does! From hard barks with little
sustain to fat saturated tones that last forever, this baby has got the lot.
This pedal is truly excellent - and suddenly the price tag spells value for
money.
GUITARIST (UK) July 1997.
Chorus
XII
This is another example
of how Carl Martin is coming up with ingenious ways of improving on basic
effect pedals.
Within its range of extremely usable sounds, it works incredibly well.
Do you want to know what impressed me most? Well, it's just so quiet.
GuitarPlayer (USA) July 1997.
Chorus
XII
Make me remember what I
used to like about stereo chorus.
GuitarPlayer (USA) June 1997.
Hot
Drive'n boost MKII
One of the most natural
sounding and usable distortion pedals we have tried.
|
|
Up • Carl Martin Pro • Carl Martin Vintage • G-Lab • Z.Vex |
|
  |
|
PRO-LINE Series
build
in mains power supply |
 |
Hot Drive'n Boost
has been carefully designed to
imitate the sound of a good old-fashioned distording Tube-Amp.
The Hot Drive'n Boost is the perfect choice for that crunchy blues
tone, with plenty left over for a great hard rock tone as well.
With the BOOST feature the Hot Drive'n Boost is a "TWO IN ONE"
pedal. That allows you to get that extra "kick" (up to 20db) for
solos to really stand out.
The Hot Drive'n Boost has a built in regulated (+-12V) power
supply. This enables us to design circuitry of the highest quality
with maximum headroom.
The low output impedance insures a lo noise connection, and gives
improved working conditions for the guitar amp.
 175
euro |
|
Hot Drive'n Boost MKII
has been carefully designed to imitate the sound of a good
old-fashioned distording Tube-Amp.
It is similar to the Hot Drive'n Boost but has a rougher and
deeper sound.
With the BOOST feature the Hot Drive'n Boost MKII is a "TWO In
ONE" pedal. That allows you to get that extra "kick" (up to 20db)
for solos to really stand out.
The Hot Drive'n Boost MKII has a built in regulated (+-12V) power
supply. This enables us to design circuitry of the highest quality
with maximum headroom.
The low output impedance insures a lo noise connection, and gives
improved working conditions for the guitar amp.
175
euro |
-
-
- Hot Drive’n Boost MK3
-
- featuring a complete new
overdrive design that gives a even more authentic “tube”
simulating overdrive than the original HDB, which is know to be
one of the best.
The new HDB MK3 sound like a tweaked up quality tube amp, and on
contrary nearly every other overdrive pedal does it not change the
original tone, has no midrange pronouncement, no low end cut of,
no high end cut of, all that gives a tone of a clear brilliant
tube drive of it’s own. FEATURING: Built in mains power supply.
Two in on functions (overdrive & boost). Blue high bright LED.
With the BOOST feature the Hot Drive'n Boost MK3 is a "TWO IN ONE"
pedal. That allows you to get that extra "kick" (up to 20db) for
solos to really stand out.
The Hot Drive'n Boost MK3 has a built in regulated (+-12V) power
supply. This enables us to design circuitry of the highest quality
with maximum headroom.
The low output impedance insures a lo noise connection, and gives
improved working conditions for the guitar amp.
-
-
215
euro
|
|
3 Band Parametric Pre-Amp
has been specially developed for musicians
who play ACOUSTIC GUITAR, VIOLIN, ACCORDIAN, DOUBLE BASS, etc.
These musicians often use combo amps and do not find the use of
19" rack equipment very practical. Experience has shown us that
these instruments often require a high quality EQ and balanced
line driver. We have integrated those features into a handy stomp
box format.
For maximum flexibility, we found it necessary to create a high
quality 3 band semi-parametric EQ.
Carl Martin 3 Band Parametric Pre-Amp works equally well for
tweaking the sound of electric guitars, basses and other
electronic instruments as well as for direct studio recordings.
The 3 Band Parametric Pre-Amp has a built in regulated (+-12V)
power supply which enables us to design circuitry of the highest
quality with maximum headroom
259 euro |
-
|
Compressor/Limiter
has been specially developed to incorporate the same features and
sonic clarity found in high quality professional studio
compressors. To achieve this we incorporated a variable threshold,
-variable compression ratio, -variable attack and release controls
and of course, a gain level. General Guidelines on the use of the
Compressor/Limiter:
Threshold:
Working anti clockwise, determines how much of the signal will be
compressed. This is also dependent on how much signal is fed from
the instrument.
Comp:
Working clockwise, determines how much compression is applied to
the signal allowed by the threshold setting.
Resp:
Working clockwise, determines the attack/release times, going from
slow to fast. In general, if you want to hear the compressor
working with a crisp attack you should use slow times. If you
require just a silent limiting you should use fast times.
Gain:
Working clockwise, sets the overall gain.
Busy:
Indicates the amount of compression being applied, even in bypass
mode. The brighter it gets, the more compression is being applied.
225
euro |
 |
|
Chorus xII
is
a dual stereo chorus foot pedal. Designed by Canadian electronics
wizard Daniel Van Kranendonk, the unit is the result of five years
of careful research and development.
It has two identical but independent sets of speed and depth
controls. Each "chorus" has an LED indicator that lights up when
in use and also flashes an indication of the speed setting.
The Chorus xII has a stereo output via two quarter inch jacks. The
"on" switch allows you to engage or bypass the chorus. The
"select" switch allows you to switch between the two chorus
settings mid song or mid set without having to get down on your
knees alter the controls.
The Carl Martin Chorus xII is the perfect choice for guitar, bass
or keyboards. It is unbelievably rich in sound, totally quiet, and
most important of all, does not change the basic sound.
The Carl Martin Chorus xII has a built in, regulated (+-12V) power
supply which enables us to design circuitry of the highest quality
with maximum headroom.
225 euro |
|
TremO´vibe
is an analog "two in one" effect pedal consisting
of a tremolo and a real vibrato, both with independent sets of
speed and depth controls.
The tremolo effect works like a change in volume. The vibrato,
which works as a change in tone (pitch modulation), is carefully
designed to imitate the sound of a real tube vibrato.
Featuring two switches, The "on" switch allows you to engage or
bypass the unit. The "select" switch allows you to switch between
Tremolo and Vibrato.
The Carl Martin TremO´vibe is an excellent choice for Guitar,
Bass, Keyboard, or any other electronic instrument, that requires
the highest sonic clarity, maximum dynamic range and noise free
performance.
The unit has a built in regulated power supply which enables us to
design circuitry of the highest quality with maximum headroom.
259 euro |
-
PlexiTone
is as the name might indicate an
unusual high gain three step rocket of an overdrive.
The PlexiTone offers two step overdrive, the crunch channel and the
high gain channel, on top of that it gives you an up to 20dB clean
boost channel.
The crunch channel goes from subtle overdrive to hard rock gain
stage, the high gain channel goes from rock gain stages to
absolutely meltdown, with loads of gain and low end, and all in a
tone that brings the memory back to the early 80's high gain guitar
hero's.
The PlexiTone has as most Carl Martin pedals a built in regulated
(+-12V) power supply, to secure the necessary headroom that gives
you the great tone.
249 euro
|
-
AC-Tone
is the next overdrive in the
British voiced vein, as the PlexiTone it is a three in one pedal.
The AC-Tone offers two channels of overdrive, voiced alike for
preset usage, on top of that it gives you an up to 20dB clean boost
channel.
The overdrive is low to medium gained for a sweet and crispy with
the mellow midrange that reminds one of the old TopBoost amps from
the late 60's , the two channels are ranging from a mild breakup to
a healthy overdriven sound. One channel can be used for that
slightly chimey breakup, and the other channel can be set for more
overdrive giving more saturated mids and drive, you can freely set
them the way that suits your needs.
The AC-Tone has as most Carl Martin pedals a built in regulated
(+-12V) power supply, to secure the necessary headroom that gives
you the great tone
249 euro
|
|
Contour & Boost
is
especially designed to boost up, and change the sound (contour) of
electric guitar/bass.
The Contour & Boost circuitry is of phase linear design, using
high quality components. This ensures sonic clarity and midrange
emphasis which is so important for electric guitar.
The Contour & Boost is designed as a High Pass (low cut) and Low
Pass (high cut) filter, with a fixed X-over frequency at 440Hz.
The High Pass filter operates from 65Hz to 440Hz, and the Low Pass
filter from 440Hz to 8kHz. Both filters are individually sweepable,
with a boost range of up to 12dB. With these two filters it is
possible to change the sound (contour) in any way your creativity
allows you.
The Carl Martin Contour & Boost has a built in, regulated (+-12V)
power supply which enables us to design circuitry of the highest
quality with maximum headroom.
Please note that when using this unit with other effect devices,
always place the Contour & Boost after any distortion units,
otherwise the distortion unit will limit what you can achieve with
the Contour & Boost.
210 euro |
|
The FUZZ
Sets new standards for distortion with it´s revolutionary wave
guide.
By using the wave guide's deep and high controls in conjunction
with the 3 band EQ, it is possible to clean up the distortion and
shape the sound in any way needed thus making it possible to
achieve sounds ranging from an old blues fuzz, to a mid 80's hard
rock tone, to a hard core metal sound.
The Fuzz has a built in regulated (+-12V) power supply. This
enables us to design circuitry of the highest quality with maximum
headroom
259 euro |
|
DeLayla
was designed and developed with one goal in mind: To create a
superior analogue delay pedal, incorporating some of the same
features used in vintage tape delay units. To achieve this, we
have incorporated a second delay tap (similar to using two heads
simultaneously on a tape delay).
The TAP footswitch is used to turn the second tap on or off.
The TAP knob controls the mix of main delay vs. second tap delay.
Clockwise movement favours the second tap; counter clockwise
favours the main delay.
The result is a warm, smooth sound reminiscent of the vintage tape
units used in the 50's and 60's.
The DeLayla is able to capture one of the hardest sounds: that
authentic rock 'n roll slapback echo that digital processors are
unable to emulate.
The unit also features a built in regulated (+-12V) power supply.
281
euro |
|
Two Faze
is
a dual vintage phase shift foot pedal. Designed by Holm Malmquist,
to combine the old vintage style phase shifting, with the modern
technology's advantages in improved quality in sound and headroom
performance.
It has two identical but independent sets of speed controls. Each
"Phase shifter" has an LED indicator that lights up when in use
and also flashes an indication of the speed setting.
The Carl Martin Two Faze has a mono input/output via quarter inch
jack's. The "on" switch allows you to engage or bypass the Two
Faze. The "select" switch allows you to switch between the two
Phase settings mid song or mid set without having to get down on
your knees to alter the controls.
The Carl Martin Two Faze is the perfect choice for guitar and
keyboards, or as an excellent effect for bass guitar. It is very
rich in sound, it's quiet, and most important of all, does not
change the basic sound.
The Carl Martin Two Faze has a built in, regulated (+-12V) power
supply which enables us to design circuitry of the highest quality
with maximum headroom.
210 euro |
-
DeLayla XL
is
designed and developed with one goal in mind: To create a superior
echo pedal, with the same sonic quality as the original DeLayla
but with new extended features, yet incorporating some of the same
features used in vintage tape delay units.
To achieve this, we have incorporated a second delay head (slapback)
(similar to using two heads simultaneously on a tape delay).
The SLAPBACK footswitch is used to turn the second delay head on
or off.
The SLAPBACK knob controls the mix of main delay vs. second delay
head. Clockwise movement favors the second delay head; Counter
clockwise favors the main delay.
The SB-TRIM knob fine tune the second delay head's time setting
compared to the original delay head, by this it's possible to
create different delay patterns, going from strict slapback to way
offbeat. The TEMPO tap is a real time tempo learn function,
allowing you to foot tap the delay time to match the exact beat of
the song.
The Carl Martin DeLayla XL also features a built in regulated
power supply.
The result is a warm, smooth sound reminiscent of the vintage tape
units used in the 50's and 60's, combined with modern features.
The Carl Martin DeLayla XL is able to capture one of the hardest
sounds: That authentic rock'n roll slapback echo, that digital
processors are unable to emulate.
325 euro
|
-
Echotone
1200 milliseconds of vintage
echo, foot-switchable Tap or Manual time settings, insert loop and
switchable trail function at bypass. Imagine switching from a Manual
time setting to a Tap time setting right at your feet, so you can
play with your favourite slap-back echo on rhythm to a Tap (tempo)
set echo for that massive lead or solo! Combine this with flavouring
your echo by installing a chorus, flange or even distortion pedal in
the insert loop, and the switchable trail function at bypass, and
you have what our test players are calling ‘the best echo they have
ever heard’!
As with all the Danish built Carl Martin effects, the Echotone comes
in our low-profile housing, coated in our new stunning off-white
colour, with the built-in 12v (+-) regulated power supply
399 euro
|
Bass Chorus
is
the first in Carl Martin's new line of bass effects. Although
similar in function to the older Chorus XII, it is housed in the
new wider/lower metal housing with 'chicken-head knobs' for
adjustment. Of course, the quality remains the same, and the new
housing also encloses the regulated +/-12V power supply for
maximum headroom and clarity.
So why design a special chorus just for bass? Most chorus effects
in the marketplace are designed for guitar use and therefore are
mid-range heavy. The Bass Chorus has been extensively fine-tuned
so that the full effect of the chorus is evident as far down as
low B.
Like its' predecessor, the Bass Chorus is a dual stereo effects
pedal with independent sets of speed and depth controls. The
'Select' button allows you to use or bypass the effect and the
'On' button allows you to choose between your two chorus settings.
There is an LED to show the effect is on, and each chorus has its'
own LED indicator which flashes at the speed setting. An added
feature with the Bass Chorus is found when switching from a slow
chorus to a faster chorus, the effect speeds up slowly for that 'phat'
vintage Leslie effect!
The Bass Chorus is the only choice for bass artists when you
compare features….. Carl Martin quality, simplicity, flexibility
and transparency.
259 euro
|
Combinator 2
was designed and
developed in response to many requests from guitar players who use
lots of effects pedals, but are frustrated by having to press
several footswitches in order to turn multiple pedals on and off.
The Combinator 2 is a non-midi programmable effects switching
system that handles up to eight pedals. Each pedal is connected to
one of eight individual effects loops (two with stereo returns),
and then assigned to one or more of 18 groups. Pushing the program
switch for a group simultaneously engages all of the pedals
assigned to it. So if, say, you have a fuzz, a wah, and a chorus
assigned to program switch 1, pressing that switch will turn them
all on or off.
The Combinator 2 features 18 programs,- tuner output,- master
mute,- three external switches on separate jack output's.
Programming is a snap. Just select bank and press one of the
program buttons, press the soft buttons corresponding to the
pedals you want to include, press store, and you're done. The
Combinator 2 also features a power supply, providing eight
individual 9-volt taps, one for each pedal.
499 euro
|
Quattro
….four of the most popular Carl Martin effects in one package. The
Quattro begins with Carl Martin's award winning Compressor/Limiter
circuit with single controls for compression and level. The
Two-Channel Overdrive has switches for on-off, and for selecting
between the crunch and high-gain stages, and controls for tone and
level. In classic fashion, the Vintage Chorus has a speed and a
depth control. Finally, the vintage style Echo has controls for
level, tone, repeat and tap-tempo, as well as an on-off switch. No
hard to read screens, no menus to scroll through, just set-up and
play. There is no simpler multi-effect on the market! There is
also an effects loop built in between the overdrive and chorus
effects for that special drive or fuzz pedal that is part of your
sound. You also get that famous Carl Martin build quality, ultra
quiet switching, a high quality on-board regulated +/-12V power
supply which allows us to use the finest components allowing the
greatest amount of headroom, and low output impedance which leaves
your amp sounding exactly like your amp.
525 euro
|
|
Big John
is a power supply unit, which transforms the
mains voltage to a low voltage - 9V DC.
Big John is specially designed for use with guitar/bass effect
pedals, but can be used as a power supply for any device, which
requires 9V DC.
122
euro |
|
CONSUMER-LINE Series
9V battery
pedals |
 |
 |
Crunch Drive
is
a 9V-battery-powered pedal designed to emulate that "hard to get"
crunchy blues tone from a good tube amp.
The Attack (mid) and Edge (treble) controls give access to a
variety of flavours within this type of distortion style without
compromising sonic quality.
If subtle crunch is your thing, you'll find plenty of cool chord
and light solo options here which - regardless of EQ - always
sound crisp and lively perfect for jangly chords and light blues
soloing.
The Carl Martin Crunch Drive is true bypass and features an AC
adapter jack.
122 euro |
-
|
Heavy Drive
is a 9V-battery-powered pedal designed to emulate the sound of a
high gain tube amp used by heavy rock musicians. It offers loads
of gain, but responds to the guitarist's touch without altering
the basic tone of the guitar.
The Attack (mid) and Edge (treble) controls give access to a
variety of flavours within this type of distortion style, without
compromising sonic quality.
The Carl Martin Heavy Drive has enough gain on tap to lead you to
Rectifier tone territory without low-string mush or raspy highs.
The Carl Martin Heavy Drive is true bypass and features an AC
adapter jack.
122 euro |
-
|
Rock Drive
is a 9V-battery-powered pedal
designed to emulate the sound of a hard
driven tube amp, responsive to individual playing dynamics without
altering the basic tone of the guitar.
The Attack (mid) and Edge (treble) controls give access to a
variety of flavours within this type of distortion style, without
compromising sonic quality.
The Carl Martin Rock Drive is capable of emulating tones from a
smoking Twin to a beefed up JCM 800, without low-string mush or
raspy highs.
The Carl Martin Rock Drive is true bypass and features an AC
adapter jack.
122 euro |
-
|
Boost Kick
is
a 9V-battery-powered pedal designed to provide up to 12dB of boost
to give that extra "kick" required for a great solo.
The level control determines the boost level. The 3 band EQ
section is comprised of Punch (bass), Attack (mid) and Edge
(treble).
This allows a virtually unlimited range of solo sounds without
compromising sonic quality.
Getting your solos to cut through the cacophony of the band can be
a handful. With up to 12dB boost and the 3 band EQ at your feet,
hitting the right sound at the right level is a breeze.
The Carl Martin Boost Kick is true bypass and features an AC
adapter jack.
122 euro |
-
|
Noise Terminator
is a 9V-battery-powered pedal designed to
preserve the original tonal characteristics while removing
unwanted noise that occurs when multiple effects are used.
The Carl Martin Noise Terminator surpasses the performance of
conventional noise gates by allowing the player to switch between
two threshold settings: Soft - with less noisy equipment: Hard -
when more radical settings are required. The remote jack allows
you to connect the Noise Terminator to an external midi switching
system, which allows the player to go between the soft and hard
settings with ease. The Carl Martin Noise Terminator features an
AC adapter jack.
129 euro |
-
|
The neat little
Hydra Boost
that with it's small size and simple design offers
a clean 15dB low noise boost.
Imagine your solo with an extra few dB's on top to get it out
where it belong, or maybe boost your input on your amp to get more
sustain and bite, or simply drive your distortion pedals with
extreme input for extraordinary distortion.
THAT'S THE HYDRA.
FEATURING:
Low noise design
9V battery adapter
Rugged housing
Vintage style knob
High bright blue LED
92 euro |
 NOTA: preturile contin TVA
|
|
