PLEXITONE
The Carl Martin 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.
The Carl Martin 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.
AC TONE
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
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
COMPRESSOR LIMITER
Carl Martin 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.
You can find more detailed information under manuals.
Carl Martin 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.
You can find more detailed information under manuals.
HOT DRIVE'N BOOST MK3
The anniversary 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.
The anniversary 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.
CLASSIC CHORUS
The Classic Chorus by Carl Martin, is not just another chorus pedal. Yes it can be powered by either a 9V battery or a regulated 9V power supply; yes it has the solid diecast housing with the cool off-white chicken-head knobs and the cool CM graphics; yes it has that great CM quality bypass switching, and the LED’s to indicate operation; and yes when you plug into this pedal, you will get a chorus effect…..but….there is so much more! Carl spent a year researching and developing this pedal for the vintage guitar nut in all of us. Plug into the Classic Chorus, step on the Bypass switch to turn the effect on, adjust the speed and depth knobs to obtain your favorite chorus effect and then bring up the level to show off just how good you sound. You will be amazed at how this pedal takes you back to the ‘day’ with it’s full, round, vintage chorus sound. Now hang on to your hat and step on the Vibrato switch. By adjusting the Rate knob clockwise you change your sound from Chorus to Vibrato with the full Vibrato effect achieved with the Rate and Depth knobs turned completely clockwise. (The Speed Depth and Level knobs are universal for both Chorus and Vibrato.) You will notice a distinct drop in your highs, but Carl says this is intentional….it will keep your sound warmer and rounder, plus, when you use this effect with Distortion/Overdrives it won’t fizz out or die, you will just get that massive overdriven chorus/vibrato effect that you always dreamed of.
The Classic Chorus by Carl Martin, is not just another chorus pedal. Yes it can be powered by either a 9V battery or a regulated 9V power supply; yes it has the solid diecast housing with the cool off-white chicken-head knobs and the cool CM graphics; yes it has that great CM quality bypass switching, and the LED’s to indicate operation; and yes when you plug into this pedal, you will get a chorus effect…..but….there is so much more! Carl spent a year researching and developing this pedal for the vintage guitar nut in all of us. Plug into the Classic Chorus, step on the Bypass switch to turn the effect on, adjust the speed and depth knobs to obtain your favorite chorus effect and then bring up the level to show off just how good you sound. You will be amazed at how this pedal takes you back to the ‘day’ with it’s full, round, vintage chorus sound. Now hang on to your hat and step on the Vibrato switch. By adjusting the Rate knob clockwise you change your sound from Chorus to Vibrato with the full Vibrato effect achieved with the Rate and Depth knobs turned completely clockwise. (The Speed Depth and Level knobs are universal for both Chorus and Vibrato.) You will notice a distinct drop in your highs, but Carl says this is intentional….it will keep your sound warmer and rounder, plus, when you use this effect with Distortion/Overdrives it won’t fizz out or die, you will just get that massive overdriven chorus/vibrato effect that you always dreamed of.
KLASIK FLANGE
Carl Martin is doing a groovy thing out there man…. Introducing the Vintage Flanger; designed for those guitarists who desire this unique form of modulation. The Vintage Flanger has four knobs to control Speed, Depth, Pre-delay and Feedback, plus a dual speed mode that is foot-switchable. There are no rules with a Flanger, just plug this versatile modulation pedal in and play play play. As with all the Vintage pedals, the Flanger comes in a solid, diecast housing with the cool CM graphics and chicken-head knobs. It can be powered by 9v battery or a (recommended) regulated 9v power supply like the CM Big John.
Carl Martin is doing a groovy thing out there man…. Introducing the Vintage Flanger; designed for those guitarists who desire this unique form of modulation. The Vintage Flanger has four knobs to control Speed, Depth, Pre-delay and Feedback, plus a dual speed mode that is foot-switchable. There are no rules with a Flanger, just plug this versatile modulation pedal in and play play play. As with all the Vintage pedals, the Flanger comes in a solid, diecast housing with the cool CM graphics and chicken-head knobs. It can be powered by 9v battery or a (recommended) regulated 9v power supply like the CM Big John.
KLASIK OPTIK Amplop
Carl got a call from an old guitar playing friend who said he didn’t want to use his wah all the time, but wanted to have some of those effects available. Enter the Classic Optical Envelope….essentially a classic envelope filter (auto-wah utilizing the same opto-technology as the Opto-compressor) for guitar or bass, with a bunch of cool options. The first footswitch is for fx on/off (buffered), and the second to select between the three modes (High Pass, Band Pass and Low Pass). Add to this the Level control for overall volume, Drive for how hard the auto-wah will function, Q for adjusting the size of the bandwidth, and Tone which acts as a separate Hi-pass filter, and you have complete control over your fx…from vocal like tones to funky quacks and fat wows! Housed in the cool new diecast housing with mini-knobs and cool retro colour, the Classic Optical Envelope can be powered by a 9v battery, but we always recommend a regulated power supply for optimum response!
Carl got a call from an old guitar playing friend who said he didn’t want to use his wah all the time, but wanted to have some of those effects available. Enter the Classic Optical Envelope….essentially a classic envelope filter (auto-wah utilizing the same opto-technology as the Opto-compressor) for guitar or bass, with a bunch of cool options. The first footswitch is for fx on/off (buffered), and the second to select between the three modes (High Pass, Band Pass and Low Pass). Add to this the Level control for overall volume, Drive for how hard the auto-wah will function, Q for adjusting the size of the bandwidth, and Tone which acts as a separate Hi-pass filter, and you have complete control over your fx…from vocal like tones to funky quacks and fat wows! Housed in the cool new diecast housing with mini-knobs and cool retro colour, the Classic Optical Envelope can be powered by a 9v battery, but we always recommend a regulated power supply for optimum response!
DC DRIVE
What Vintage series would be complete without an ultra-versatile and simple to use drive pedal? Funny, that’s what Carl said just before he introduced the DC Drive. Just like Carl, this pedal has a few tricks up its sleeve. Besides the typical Level, Tone and Drive knobs which obviously control the volume of the signal, the tone (hmmm, which knob?) and the amount of overdrive, Carl has smartly added a clean boost after the drive section, and a Regular/Fat switch….not so typical. In Regular mode, the drive is crisp and clear, suitable for anything that calls for old-school drive….switch over to Fat and the drive gets thicker with a lot more gain, much more modern. Anyone who knows the Carl Martin line is familiar with his Clean Boost….a bump-up in signal volume that can be used either with your clean or overdriven sounds. The result is a multi-use pedal that allows you to have a variety of rhythm and solo volumes at your feet. Like the rest of the Vintage line, the DC drive comes in that cool retro diecast housing with the equally cool chicken-head knobs and CM graphics. The pedal can be powered by 9v battery but we recommend a regulated power supply like the Carl Martin Big John.
What Vintage series would be complete without an ultra-versatile and simple to use drive pedal? Funny, that’s what Carl said just before he introduced the DC Drive. Just like Carl, this pedal has a few tricks up its sleeve. Besides the typical Level, Tone and Drive knobs which obviously control the volume of the signal, the tone (hmmm, which knob?) and the amount of overdrive, Carl has smartly added a clean boost after the drive section, and a Regular/Fat switch….not so typical. In Regular mode, the drive is crisp and clear, suitable for anything that calls for old-school drive….switch over to Fat and the drive gets thicker with a lot more gain, much more modern. Anyone who knows the Carl Martin line is familiar with his Clean Boost….a bump-up in signal volume that can be used either with your clean or overdriven sounds. The result is a multi-use pedal that allows you to have a variety of rhythm and solo volumes at your feet. Like the rest of the Vintage line, the DC drive comes in that cool retro diecast housing with the equally cool chicken-head knobs and CM graphics. The pedal can be powered by 9v battery but we recommend a regulated power supply like the Carl Martin Big John.
OPTO COMPRESSOR
One day while Carl was adding some compression to a guitar track in his studio, he thought, why hasn’t anyone built a small opto-compressor for guitarists? An optical compressor performs gain reduction control via a light source into a photo sensitive cell... as the light source gets brighter, the photo sensitive cell sends a signal to reduce dynamic range, or what becomes a compressed signal. Welcome to the Vintage Opto-Compressor….an old-school compressor from the days where colouring was an important factor to the sound. The four controls (from left to right) are the Gain, which controls the ‘pre-glow’ of the optical circuit (the more you turn this up, the fatter the sound); Level, which controls the overall volume of the compressor; Compression, which controls how hard or soft the compression is, and the Attack control which takes the signal from transparent to outright total squeeze. A short time with this compressor will allow you to find some of those classic guitar sounds which may somehow have escaped you before. Again, like all the Vintage pedals, the Opto-Compressor comes in a solid diecast housing with cool chicken-head knobs, CM colour and graphics and a 9v battery compartment. Due to the nature of compressors, we highly recommend a regulated power supply (like the CM Big John) or a large stock of batteries…..
One day while Carl was adding some compression to a guitar track in his studio, he thought, why hasn’t anyone built a small opto-compressor for guitarists? An optical compressor performs gain reduction control via a light source into a photo sensitive cell... as the light source gets brighter, the photo sensitive cell sends a signal to reduce dynamic range, or what becomes a compressed signal. Welcome to the Vintage Opto-Compressor….an old-school compressor from the days where colouring was an important factor to the sound. The four controls (from left to right) are the Gain, which controls the ‘pre-glow’ of the optical circuit (the more you turn this up, the fatter the sound); Level, which controls the overall volume of the compressor; Compression, which controls how hard or soft the compression is, and the Attack control which takes the signal from transparent to outright total squeeze. A short time with this compressor will allow you to find some of those classic guitar sounds which may somehow have escaped you before. Again, like all the Vintage pedals, the Opto-Compressor comes in a solid diecast housing with cool chicken-head knobs, CM colour and graphics and a 9v battery compartment. Due to the nature of compressors, we highly recommend a regulated power supply (like the CM Big John) or a large stock of batteries…..
RED REPEAT
Based on the infamous Carl Martin Delayla, the 'Red Repeat' provides an affordable 600 milliseconds of delay as well as a simply controlled echo. Add just a touch of delay to thicken your sound, or push the repeat circuit past 12o'clock where the unit begins to self-oscillate, just like an old analog delay. Great vintage style and colour in a heavy diecast, 9 volt pedal with heavy duty bypass switching.
Based on the infamous Carl Martin Delayla, the 'Red Repeat' provides an affordable 600 milliseconds of delay as well as a simply controlled echo. Add just a touch of delay to thicken your sound, or push the repeat circuit past 12o'clock where the unit begins to self-oscillate, just like an old analog delay. Great vintage style and colour in a heavy diecast, 9 volt pedal with heavy duty bypass switching.
SURF TREM
Remember the great tremolo tones of the 50's and 60's? The 'Surf Trem' gets its' trem circuit from the CM Tremovibe. With just a 'speed' and 'depth' control (just like our old tube amp) those classic tones are easy to achieve. The retro heavy diecast case with 9 volt battery compartment, cool colour and heavy duty bypass switch, make the 'Surf Trem' a must have in every pedal box.
Remember the great tremolo tones of the 50's and 60's? The 'Surf Trem' gets its' trem circuit from the CM Tremovibe. With just a 'speed' and 'depth' control (just like our old tube amp) those classic tones are easy to achieve. The retro heavy diecast case with 9 volt battery compartment, cool colour and heavy duty bypass switch, make the 'Surf Trem' a must have in every pedal box.
SINGLE PLEXITONE
The new `single channel` Carl Martin PlexiTone was designed in association with Pete Thorn, and is housed in a small pedal-board friendly housing with 3 knobs and 1 switch. Apart from Pete's slight modifications that give this new pedal a tighter bottom-end and slightly softer high frequencies, it is exactly the same gain structure as the High Gain setting on the original Pro-Series PlexiTone....it just plays better with different amps. The single Plexi also incorporates our new DC-DC converter circuitry, so the pedal can be powered by a regulated 9V Power Supply but will still operate on the same +-12V level as the original AC powered PlexiTone. This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series stand out from the rest!
The new `single channel` Carl Martin PlexiTone was designed in association with Pete Thorn, and is housed in a small pedal-board friendly housing with 3 knobs and 1 switch. Apart from Pete's slight modifications that give this new pedal a tighter bottom-end and slightly softer high frequencies, it is exactly the same gain structure as the High Gain setting on the original Pro-Series PlexiTone....it just plays better with different amps. The single Plexi also incorporates our new DC-DC converter circuitry, so the pedal can be powered by a regulated 9V Power Supply but will still operate on the same +-12V level as the original AC powered PlexiTone. This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series stand out from the rest!
SINGLE AC TONE
The new `single channel` AC-Tone, is a smaller pedal-board friendly, single channel version of the original Pro-Series AC-Tone. It features 3 knobs and 1 switch and has a slightly beefed up Gain section, but shares the very same tone as its big sister!
The single AC-Tone also incorporates our new DC-DC converter circuitry, so the pedal can be powered by a regulated 9V Power Supply but will still operate on the same +-12V level as the original AC powered AC-Tone. This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series pedals stand out from the rest!
The new `single channel` AC-Tone, is a smaller pedal-board friendly, single channel version of the original Pro-Series AC-Tone. It features 3 knobs and 1 switch and has a slightly beefed up Gain section, but shares the very same tone as its big sister!
The single AC-Tone also incorporates our new DC-DC converter circuitry, so the pedal can be powered by a regulated 9V Power Supply but will still operate on the same +-12V level as the original AC powered AC-Tone. This allows us to use the same high quality components which provide the same tone and headroom that make the CM Pro-Series pedals stand out from the rest!
OCTASWITCH MK2
Ok, so you have eight effects pedals which you use regularly. You use various combinations of these pedals in various songs, but you are not good at tap dancing…or you are just clumsy and have (once or twice) stepped on the ultra tricked out-metalized-distortion pedal for the lead in your one ABBA cover. You have seen the digital effects controllers they use on the big stages, and have secretly yearned for one… even though you may never make the big stage. Enter Thomas Guldmann’s Octa-switch II. Your eight effects plug into the eight effects-loops on the back of this unit (all true-bypass, impedance free, gold relays so you can run any of your pedals, new and old without problem), and then by turning on or off the numbered switches in each of eight DIP Bank switches, you determine which effects you wish to use simultaneously in each Bank. There is a blue LED for every effects loop used and for each Bank (so once you are programmed, when you step on Bank 6 you will see the lights of all the effects you have assigned to Bank 6 and the Bank 6 LED). The Octa-switch II has incorporated a couple new features as well! The ninth switch on the left side of the case is a BYPASS Switch….this allows you to completely bypass all eight pedals and enjoy only the unaffected sound of your amplifier. There are also two External Switching jacks which allow you to use two amplifiers and/or switch channels on those amps. Once you have all the Banks programmed, we recommend placing a piece of scotch or electrical tape over each DIP (….just to protect the switch from accidental switching, damage or floods….like beer). There is a buffered (or not….switchable) Mono input and a stereo Output, and the unit is powered by dual 9v batteries, or by a regulated power supply…like the Big John or the Pro Power (both by Carl Martin).
To set up the Octa-swtch, plug up to eight pedals and amp(s) into the appropriate inputs/outputs on the back of the pedal. The pedals can be in any particular order you prefer or you can follow the general rule from 1-8 of compression, overdrive, and modulation. Then by turning on or off the numbered switches in each of eight DIP Bank switches, you determine which effects you wish to use simultaneously in each Bank. There is a blue LED for every effects loop used and for each Bank (so once you are programmed, when you step on Bank 6 you will see the lights of all the effects you have assigned to Bank 6 and the Bank 6 LED). In order for the pedals to work properly with the Octa-switch, all the pedals must be turned on. (A quick performance note is required here….when you are using the Octa-switch, and there are pedals you only use rarely, it is a good idea to turn them off and then on again to disperse any built up charge that could cause a ‘pop’ when you engage them with the Bank switch….a good time to do this is at the end of each set you play!)
Please note, the DIP switches are slide type, NOT push down. They are easily operated with a small screwdriver, a pen, or a very very small finger.
There is a buffered or True Bypass (non-buffered) switch at the back of the Octa-switch which you select depending on the stage set-up or your personal preference. On large stages when running long connected cables, there is a definite drop in the high end of your guitar sound (more or less depending on the input impedance of your amplifier). The solution according to Thomas was once again ‘simple’. He built in a buffer circuit at the input, so the user can choose between 100% true bypass, or, a buffered bypass to ‘beef’ up the signal.
The Octaswitch has stereo outputs as well as the stereo return on Loop 8 (this is a stereo jack with tip-left and ring-right). Since stereo effects like choruses are placed at the end of your effects-chain, we would typically insert them in Loop 8.
The Octa-Switch has nine switches, the eight are presets and the ninth is an effect Bypass, which will bypass the Octa-switch to your un-affected amplifier sound. Please note if the Buffered Input is engaged at the back of the pedal, it will also be engaged in the bypass Mode on top of the pedal, as they work in conjunction with each other. Similarly, if the True Bypass Input is engaged at the back, the Bypass switch on top will switch to a True Bypass signal.
The Octa-Switch has two external switching jacks for changing channels on your amp(s), or other operational features.
Setting up the External Switches, is as easy as setting up the Banks. The two external outputs correspond to the two DIP switches above them and their Green/Red LED’s. The simplest set-up is with one amp…. plug the amp’s channel switch into the External Switch Jack 1, and select which of the eight banks require a switched channel (ie high gain) by setting the individual DIP Switches to ‘ON’. Now; when you engage Bank 6 for instance, it will automatically switch to high gain rather than having to step on another separate switch.
Please note that different amplifiers and different amplifier companies use different switching systems. If plugging straight into the Octa-switch does not give you the desired result, we suggest you contact your local qualified amp technician and have him make the required change to your amp’s switch, so it will function with the Octa-switch. (It is impossible to have a switching system that will work with every amp on the market, but because all switching systems are similar, it should be possible to have them all work with the Octa-switch with! For safety reasons, we do not recommend you open or attempt to service this pedal, your switches or your amplifiers unless you have the proper qualifications!)
Ok, so you have eight effects pedals which you use regularly. You use various combinations of these pedals in various songs, but you are not good at tap dancing…or you are just clumsy and have (once or twice) stepped on the ultra tricked out-metalized-distortion pedal for the lead in your one ABBA cover. You have seen the digital effects controllers they use on the big stages, and have secretly yearned for one… even though you may never make the big stage. Enter Thomas Guldmann’s Octa-switch II. Your eight effects plug into the eight effects-loops on the back of this unit (all true-bypass, impedance free, gold relays so you can run any of your pedals, new and old without problem), and then by turning on or off the numbered switches in each of eight DIP Bank switches, you determine which effects you wish to use simultaneously in each Bank. There is a blue LED for every effects loop used and for each Bank (so once you are programmed, when you step on Bank 6 you will see the lights of all the effects you have assigned to Bank 6 and the Bank 6 LED). The Octa-switch II has incorporated a couple new features as well! The ninth switch on the left side of the case is a BYPASS Switch….this allows you to completely bypass all eight pedals and enjoy only the unaffected sound of your amplifier. There are also two External Switching jacks which allow you to use two amplifiers and/or switch channels on those amps. Once you have all the Banks programmed, we recommend placing a piece of scotch or electrical tape over each DIP (….just to protect the switch from accidental switching, damage or floods….like beer). There is a buffered (or not….switchable) Mono input and a stereo Output, and the unit is powered by dual 9v batteries, or by a regulated power supply…like the Big John or the Pro Power (both by Carl Martin).
To set up the Octa-swtch, plug up to eight pedals and amp(s) into the appropriate inputs/outputs on the back of the pedal. The pedals can be in any particular order you prefer or you can follow the general rule from 1-8 of compression, overdrive, and modulation. Then by turning on or off the numbered switches in each of eight DIP Bank switches, you determine which effects you wish to use simultaneously in each Bank. There is a blue LED for every effects loop used and for each Bank (so once you are programmed, when you step on Bank 6 you will see the lights of all the effects you have assigned to Bank 6 and the Bank 6 LED). In order for the pedals to work properly with the Octa-switch, all the pedals must be turned on. (A quick performance note is required here….when you are using the Octa-switch, and there are pedals you only use rarely, it is a good idea to turn them off and then on again to disperse any built up charge that could cause a ‘pop’ when you engage them with the Bank switch….a good time to do this is at the end of each set you play!)
Please note, the DIP switches are slide type, NOT push down. They are easily operated with a small screwdriver, a pen, or a very very small finger.
There is a buffered or True Bypass (non-buffered) switch at the back of the Octa-switch which you select depending on the stage set-up or your personal preference. On large stages when running long connected cables, there is a definite drop in the high end of your guitar sound (more or less depending on the input impedance of your amplifier). The solution according to Thomas was once again ‘simple’. He built in a buffer circuit at the input, so the user can choose between 100% true bypass, or, a buffered bypass to ‘beef’ up the signal.
The Octaswitch has stereo outputs as well as the stereo return on Loop 8 (this is a stereo jack with tip-left and ring-right). Since stereo effects like choruses are placed at the end of your effects-chain, we would typically insert them in Loop 8.
The Octa-Switch has nine switches, the eight are presets and the ninth is an effect Bypass, which will bypass the Octa-switch to your un-affected amplifier sound. Please note if the Buffered Input is engaged at the back of the pedal, it will also be engaged in the bypass Mode on top of the pedal, as they work in conjunction with each other. Similarly, if the True Bypass Input is engaged at the back, the Bypass switch on top will switch to a True Bypass signal.
The Octa-Switch has two external switching jacks for changing channels on your amp(s), or other operational features.
Setting up the External Switches, is as easy as setting up the Banks. The two external outputs correspond to the two DIP switches above them and their Green/Red LED’s. The simplest set-up is with one amp…. plug the amp’s channel switch into the External Switch Jack 1, and select which of the eight banks require a switched channel (ie high gain) by setting the individual DIP Switches to ‘ON’. Now; when you engage Bank 6 for instance, it will automatically switch to high gain rather than having to step on another separate switch.
Please note that different amplifiers and different amplifier companies use different switching systems. If plugging straight into the Octa-switch does not give you the desired result, we suggest you contact your local qualified amp technician and have him make the required change to your amp’s switch, so it will function with the Octa-switch. (It is impossible to have a switching system that will work with every amp on the market, but because all switching systems are similar, it should be possible to have them all work with the Octa-switch with! For safety reasons, we do not recommend you open or attempt to service this pedal, your switches or your amplifiers unless you have the proper qualifications!)
PRO POWER
Whether you are an international touring musician, or just very particular about the power your pedals are receiving; which by the way you should be, the ‘Carl Martin Pro Power’ power supply was created just for you. The Pro Power offers a number of features designed with the discerning musician in mind. Start with the switchable (110-230V) AC input, and split that into 8 individual isolated and regulated 9v (150mA) – 12v (110mA) outputs, with extended power at output 7-8 9v (350mA) 12v (220mA), and you have a unique power supply you can use virtually anywhere. There is a simple DIP switch on the back of the ProPower, which allows you to switch the voltage of each output between 9-12v. Housed in our traditional black metal case, the Carl Martin Pro Power is perfect to use on it’s own, or when powering your personal pedal board. The Pro Power also comes with a selection of 9V DC cables for your convenience.
Whether you are an international touring musician, or just very particular about the power your pedals are receiving; which by the way you should be, the ‘Carl Martin Pro Power’ power supply was created just for you. The Pro Power offers a number of features designed with the discerning musician in mind. Start with the switchable (110-230V) AC input, and split that into 8 individual isolated and regulated 9v (150mA) – 12v (110mA) outputs, with extended power at output 7-8 9v (350mA) 12v (220mA), and you have a unique power supply you can use virtually anywhere. There is a simple DIP switch on the back of the ProPower, which allows you to switch the voltage of each output between 9-12v. Housed in our traditional black metal case, the Carl Martin Pro Power is perfect to use on it’s own, or when powering your personal pedal board. The Pro Power also comes with a selection of 9V DC cables for your convenience.
POWERJACK
The Carl Martin Powerjack universal power supply for guitar effects employs switch-mode technology, allowing it to be used from 100V-240V. The Powerjack delivers 1670mA of stabilized 9V DC power at any voltage. Please follow all safety rules and regulations for the geographic region you are located in, and please consult your effects peThe Carl Martin Powerjack universal power supply for guitar effects employs switch-mode technology, allowing it to be used from 100V-240V. The Powerjack delivers 1670mA of stabilized 9V DC power at any voltage. Please follow all safety rules and regulations for the geographic region you are located in, and please consult your effects pedal manual before connecting the Powerjack to ensure correct voltage, polarity and plug type.dal manual before connecting the Powerjack to ensure correct voltage, polarity and plug type.
The Carl Martin Powerjack universal power supply for guitar effects employs switch-mode technology, allowing it to be used from 100V-240V. The Powerjack delivers 1670mA of stabilized 9V DC power at any voltage. Please follow all safety rules and regulations for the geographic region you are located in, and please consult your effects peThe Carl Martin Powerjack universal power supply for guitar effects employs switch-mode technology, allowing it to be used from 100V-240V. The Powerjack delivers 1670mA of stabilized 9V DC power at any voltage. Please follow all safety rules and regulations for the geographic region you are located in, and please consult your effects pedal manual before connecting the Powerjack to ensure correct voltage, polarity and plug type.dal manual before connecting the Powerjack to ensure correct voltage, polarity and plug type.