The Power toCREATE.

Encyclopedia of Tone Vol. 4

The JimiHendrix

Experience™Page 8

Photo: Richard Peters/Authentic Hendrix LLC

Crossroads™The Eric Clapton

pedalPage 10

Photo courtesy of Starfile

The one and only Whammy®

Page 18

Presenting Crossroads, seven signature tones from the legendary Eric Clapton.

X-Series™ Factory™ Pedals Page 20-24

CROSSROADS™Eric Clapton

Artist Series PedalPage 10

The JIMI HENDRIXEXPERIENCE™

Artist Series Pedal Page 8

Sixteen tones from seven recordings modeled in

conjunction with Eddie Kramer, the original engineer.

Photo: Chris Walter/Authentic Hendrix LLC

The Notorious X-Series™

Starts on page 22-42 Artist Series

Jimi Hendrix Experience™ 8Crossroads™ 10Black-13™ 12The Weapon™ 14

JamMan®Looper/Phrase Sampler 16

Whammy™The one and only 18

X-Series™DF-7™ Distortion Factory 20EX-7™ Expression Factory 22Hot Rod™ 24Tone Driver® 26Metal Master™ 28Multi Chorus® 30

Overwhelming Overdrive

Starts on page 44-52

X-Series™ for Bass Players

Starts on page 68-74Optical illusion: Every X-Series pedal is actually seven pedals in

one thanks to their unique MORPH

knob. X-Series power for low-end bass dwellers.

TABLE OF CONTENTS

Synth Wah® 32Turbo Flange® 34Hyper Phase™ 36Main Squeeze® 38DigiDelay® 40DigiVerb® 42

DistortionBad Monkey™ 44Screamin’ Blues™ 46Hot Head™ 48Grunge® 50Death Metal™ 52

X-Series™ BassBass Driver™ 68Bass Multi Chorus™ 70Bass Squeeze™ 72Bass Synth Wah™ 74

Mick Thomson-Jim Root (Slipknot) Michael Wilton (Queensrÿche) Clint Lowery (Dark New Day)Metal Mike Chlasciak (Halford/PainmuseuM)

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/Alice Cooper • Adam Levine, James Valentine & Jesse Carmichael/Maroon5 • Clint & Corey Lowery/Dark New Day • Merle

Haggard • Wayne Swinny/Saliva • Michael Lockwood/Lisa Marie Presley • Scott Ian/Anthrax • Dan Donegan & John Moyer/Disturbed • Acey Slade/Trash Light Vison-Murderdolls • Mike

Miller/godhead • Roy Z/Tribe Of Gypsies-Bruce Dickinson • Glenn Tipton & KK Downing •

Virus (Dope) Jack Owen (Adrift, Deicide)

Glenn Hughes Michael Amott (Arch Enemy& Spiritual Beggars)

Joey Z (Life of Agony)

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/Death By Stereo • Billy Graziadei/Biohazard-Suicide City • Paul Crook/Sabastian Bach-Meatloaf • Johnny Hiland • Dave DeRoo & Tim Fluckey/Adema • Redd Volkaert/Sessions • Mike Einziger/Incubus • Tyler Connolly, Dean Back, David Brenner/Theory Of A Deadman • Joey Z/Life Of Agony • David Ellefson/F5 • Greg Bergdorf/Zebrahead • Daron Malakian & Shavo Odadjian/System Of A Down

• Mark Clayton/Pitchshifter • Glen Drover/Megadeth-Eidolon • Scott Gorham/Thin Lizzy • James “Munky” Schaffer/Korn • Doug Aldridge/Whitesnake • Roger Glover/Deep Purple • Jody Payne/Willie Nelson • Michael Wilton/Queensrÿche-Soul Bender • Andy LaRocque, Hal Patino & Mike Wead/King Diamond • David Lindley • Cinderella • Chad & Mike Kroeger/Nickleback • Joe Loeffler/Chevelle • Pete & Simon Townshend/The Who-Solo • Mick Thomson & Jim Root/Slipknot •

The DigiTech® users’ roster goes on and on!

KK Downing (Judas Priest)All names listed are DigiTech users as reported to us and in no way constitute an official or unofficial endorsement.

Michael Wagener/Producer • Max Cavalera & Marc Rizzo/Soulfly • David Byrne • Rick Mussallam/Mike Keneally • Jimmy & Peter Mayer/Jimmy Buffet • Nick Bacon/Lost City Angels • Dick Dale • Rudy Sarzo & Craig Goldy/DIO • Jim Root & Josh Rand/Stone Sour • 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/Living Colour • Phil Campbell/Motörhead • Richard Williams & Billy Greer/Kansas • Jon Reshard • Brent Woods/Wildside • Jerold Davis • Glenn Hughes & JJ Marsh/Glenn Hughes • Bunny Brunnel • Tony Rambola & Sully Erna/Godsmack • Tim King, Adam Zadel & Shaun Glass/SOiL • Stephen Carpenter/Deftones • Billy Martin/Good Charlotte • Burton Bell, Byron Stroud & Christian Olde Wolburs/Fear Factory • Dan Estrin/Hoobastank • Phantom Planet • 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 • Steve Stevens/Billy Idol • Cesar Soto/Fueled II Fire • Jamie Miller/theStart • Kevin Dubrow, Alex Grossi & Chuck Wright/Quiet Riot • Adrian Smith, Dave Murray & Janick Gers/Iron Maiden • Kelly Lemieux/Goldfinger • Sonny Mayo/Sevendust • Karl Cochran/Van Helsing’s Curse • Joe Lynn Turner

Why DigiTech®

pedals are the choice of GUITARISTS.(Besides awesome tone, it’s the extra details that count.)

Recessed knobs prevent accidental foot “adjustments.”Cast metal body that is built like a tank and equipped with an anti-skid foot-ing that won’t slide around on stage.Our warranty proves we build these for professional use and abuse.

Studio-ready! X-Series, DigiTech Distortion, Artist and X-Series Bass models feature an extra cabi-net modeling output allows you to go direct-to-mixing board.

Color-coded for easy identification on dimly-lit stages. Super-easy battery access even during

a song (drum solos are good for something!). Just use a ¼" guitar plug to push the release button instead of having to hunt for a screwdriver.

�

The Jimi Hendrix Experience™ Signature sounds from Jimi HendrixFrom 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 HendrixFS3X Hands-Free model

and tone control(optional footswitch)

DigiTech® Production Modeling™ duplicates distinctive tones from

classic Jimi Hendrix songs including…

“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

™Photo: Ulrich Handl/Authentic Hendrix LLC

�

© 2006 Authentic Hendrix, LLC.

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 DicksonEric Clapton Guitar Tech

Crossroads™ Signature sounds from Eric Clapton

Photo courtesy of Starfile

If you’re a Slowhand fan or just want to add some amazing tones to your arsenal,

Crossroads™ is a must-have pedal.

Crossroads™ Signature sounds from Eric Clapton

A portion of the proceeds from the sale of this pedal is being donated to Crossroads Centre, an international Centre of Excellence for the treatment of alcohol, drugs and other addictive disorders.

DigiTech® Production Modeling™ precisely duplicates seven of Eric

Clapton’s distinctive tones from classic songs:

“Sunshine of Your Love” Disraeli Gears

“Crossroads” Wheels of Fire, Live at the Fillmore

“Badge” Goodbye

“Layla” Layla and Other Assorted Love Songs

“Lay Down Sally” Slowhand

“Layla” Unplugged LIVE

“Reptile” Reptile

11

Black-13™ Signature sounds from Scott IanAttention 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 Iancan handle. Simply put,

prepared to be rocked by DigiTech® Production

Modeling™!Finally, heavy metal tone that

was once reserved for only listening on recordings or at-

tending a live show is now available to experience

on your own terms.

Scott Ian of Anthrax

13

DigiTech® Production Modeling™ Delivers Seven of Scott Ian’s Tones from Metal

Classics: “I Am the Law” Among the Living

“Madhouse” Spreading the Disease

“March of the S.O.D.” S.E.D.

“Protest and Survive” Attack of the Killer B’s

“Room for One More” Sound of White Noise

“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

15Signature sounds from Dan Doneganthe production of the record, as well as the amps and effects.

First in our series of Artist Pedals, there has never been a stompbox like this one. Whether you are a Disturbed fan or just want to add some awesome tones to your effects arsenal, it’s time to pack the Weapon.

DigiTech® Production Modeling™ brings Dan Donegan’s studio sound to live performance:

1. “Stupify” The Sickness

2. “Mistress” Believe

3. “Voices” The Sickness

4. “Bound” Believe

5. “Rise” Believe

6. “Stupify” The Sickness

7. Dan’s Personal Metal Master™ setting

JamMan® Infinite Loop PossibilitiesWhen 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 looper/phrase sampler for practic-ing, composing and performing.

Input audio can be from instru-ments, microphone or line level audio sources. Record your own

* With optional 2GB card

FS3X (optional footswitch)

Hands-Free control of loop selection and auto record.

A must have for the Jimi Hendrix Experience

JamMan® Infinite Loop Possibilities 1�

loops and overdub them on the 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 rate7 Balanced XLR mic input7 USB Connection

JamMan Possibilities are Endless!

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.Whammy can be externally controlled via MIDI.

1�

shifts that make the Whammy unique. Plus, the current Whammy has added the versatility of MIDI control, making this timeless effect flexible enough for any situation.

And the “Dive Bomb” 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

Variable Detune Octave Up Pedal Steel Bend

Distortion Factory™ Seven Classic Distortion TonesIntroducing 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 TonesThe Distortion Factory™

models the tonal nuances, drive and vibe based on the Ibanez® TS-9*, DOD® Overdrive/Preamp 250*, Boss® DS-1™*, Pro Co Rat™*, Boss® MT-2 Metal Zone®*, DigiTech® Metal Master™* and Electro-Har-monix® Big Muff p®* — all in a single, convenient package.Features7 Three dual concentric knobs for

Level/Low, Mid Frequency/Mid, Gain/High control

7 Variable stereo spectrum imaging and Flexible Output Mode™ combine

for an enormous distortion tone for either amps, mixer or both.

7 Unique carbon fiber finish7 Amplifier and mixer Outputs7 Non-skid rubber base

DigiTech, X-Series, Metal Master and DOD are trademarks of Harman International Industries, Inc. *Other product names used in this document are trademarks of their respective companies and are not associated or affiliated with DigiTech. They are trademarks of other manufacturers and were used merely to identify products whose sounds were reviewed in the creation of this product.

21

EX-7 Expression Factory™ 7 Classic Expression Effects in 1

Itroducing Expression Factory™, the pedal that lets you 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

DigiTech, X-Series, Whammy, Spac Station Synth Swell and DF-7 Distortion Factory are trademarks of Harman International Industries, Inc. *Other product names used in this document are trademarks of their respective companies and are not associated or affiliated with DigiTech. They are trademarks of other manufacturers and were used merely to identify products whose sounds were reviewed in the creation of this product.

23

Add Flexible Output Mode™, cast metal treadle and sleek carbon fiber finish and you have an industrial-strength tool for anyone who likes to tread a treadle.Features7 Three dual concentric knobs for

Level/Low, Mid Frequency/Mid, Gain/High control

7 Variable stereo spectrum imaging and Flexible Output Mode™ combine for an enormous distortion tone for either amps, mixer or both.

7 Includes seven distortion tones from the DF-7 Expression Factory™

7 Amplifier and mixer Outputs

Metal Mike Chlasciak (Halford/Painmuseum)

Hot Rod™ Rock DistortionThe 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 Distortionto models based on the Boss®* DS-1™ to the Arbiter™ Fuzz Face™*, and lots of unique rock distortion sounds in between.Features7 Exclusive Distortion Morph control7 Level, Tone and Gain controls7 Spectral Contouring Equalization7 Normal (amp) and CIT™ Cabinet

Modeling (mixer) outputs for direct-to-

board live or studio recording

25

based on Pro Co Rat™*

based on Boss® DS-1™*

based on Arbiter™ Fuzz Face™

based on Rat™* With Hair

higher= more bite

set gain to taste

set levelto match

bypass

LEVEL TONE GAIN MORPH

LEVEL MORPH

LEVEL TONE GAIN MORPH

LEVEL TONE GAIN MORPH

TONE GAIN

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.

Features7 Exclusive Distortion Morph control

Tone Driver® Overdrive

7 Level, Tone and Gain controls7 Spectral contouring equalization7 Normal (amp) and CIT™ Cabinet

Modeling (mixer) outputs for direct- to-board live or studio recording

Tone Driver® Overdrive 2�

based on DOD® Overdrive/Preamp 250

based on Ibanez® TS-9*

based on Ibanez® TS-808*

Blues Solo

higher= more bite

max gain for given

types

set levelto match

bypass

LEVEL TONE GAIN MORPH

LEVEL MORPH

LEVEL TONE GAIN MORPH

LEVEL TONE GAIN MORPH

TONE GAIN

Glen Drover (Megadeth)

“…Before the beginning of the Mega-deth “The System Has Failed” world tour, I discovered this amazing unit and immediately switched! Unlike most other overdrive units, the Tone Driver does NOT “color” your sounds, but only gives you what you need!

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

Dan Donegan (Disturbed)

erything in between, from Controlled Feedback to a personalized Tour of Hell.Features7 Exclusive Distortion Morph control7 Level, Low and Hi EQ controls7 Spectral contouring EQ7 Normal (amp)

and CIT™ Cabinet Modeling (mixer) outputs for direct-to-board live or studio recording

Metal Master™ Heavy Metal Distortion 2�

Controlled Feedback

based on Boss® Metal Zone®*

DigiTech® Death Metal™

Tour of Hell

lower= more

thump

higher= more bite

set levelto match

bypass

LEVEL LOW HI MORPH

LEVEL MORPH

LEVEL LOW HI MORPH

LEVEL LOW HI MORPH

LOW HI

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.

Multi Chorus® Digital Multi Voice Chorus

Scott Ian (Anthrax)

Features7 Select from one to 16 voices7 Level, Speed and Depth controls7 Voice randomization7 CIT™ Cabinet Modeling outputs can

be enabled for direct-to-board live or studio recording

“My X-Series Multi Chorus is magic in a box. Seriously, it was

made by wizards. Thanks for the

magic!!”

Multi Chorus® Digital Multi Voice Chorus 31

Scott Ian (Anthrax)

Rotary Chorus

Slow and Deep

Lush Chorus

Shimmer

LEVEL SPEED DEPTH VOICE

LEVEL VOICE

LEVEL SPEED DEPTH VOICE

LEVEL SPEED DEPTH VOICE

SPEED DEPTH

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

Down, Synth 1, Synth 2, Filter 1, Filter 2, and Auto Wah effects. Features7 Seven envelope, filter and synth types7 Sensitivity, Control and Range knobs

7 CIT™ Cabinet Modeling outputs can be enabled for direct-to-board live or studio recording

Synth Wah® Envelope Filter 33

Jim Root (Stone Sour/Slipknot)

“The Synth Wah is the most creative pedal in my loop.”

Funky Envelope

Synth Sweep

Vowel

Slow Sweep

SENS CONTROL RANGE TYPE - setting 1

SENS

SENS RANGE

SENS RANGE

RANGECONTROL

CONTROL

CONTROL

TYPE - setting 4

TYPE - setting 4

TYPE - setting 5

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

Features7 Seven flange types7 Three flange voicings 7 Speed, Depth and Regen

controls7 Triggering and Step

capability7 CIT™ Cabinet

Modeling can be enabled for direct-to- board live or studio recording

Turbo Flange® Stereo Flanger 35

Twisty Flange

Falling Flange

Jet Flange

Step Flange

SPEED DEPTH REGEN

SPEED

SPEED DEPTH REGEN

SPEED DEPTH REGEN

DEPTH REGEN

TYPE - setting 2

TYPE - setting 4

TYPE - setting 6

TYPE - setting 1

Josh Rand (Stone Sour)

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

All of these are designed for studio-quality performance. Features7 7 different phase effect types

7 Speed, Depth & Regen controls

7 Triggering & Step capability

7 CIT ™

Cabinet Modeling can be enabled for direct-to-board live or studio recording

“UHHHH is there any phase sound I can’t get out of this lil box???

It’s PHASE-TACULAR

Hyper Phase™ Stereo Phaser 3�

Classic Phaser

Step Phaser

Triggered Phaser

Falling Phaser

SPEED DEPTH REGEN

SPEED

SPEED DEPTH REGEN

SPEED DEPTH REGEN

DEPTH REGEN

TYPE - setting 2

TYPE - setting 7

TYPE - setting 4

TYPE - setting 6

Marc Serrano (A Dozen Furies)

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

Features7 dbx® OverEasy® studio-quality

compression technology7 Level, Attack, EQ and Sustain

controls7 Normal (amp) and CIT™ Cabinet

Modeling (mixer) outputs for direct-to-board live or studio recording

“The Main Squeeze has changed my life. It has brought new meaning to Rock and Roll”

Main Squeeze® Compressor/Sustainer 3�

Chickin’ Pickin’

Rock Sustain

Big Squeezer

Light Compression

LEVEL ATTACK EQ SUSTAIN

LEVEL SUSTAIN

LEVEL ATTACK EQ SUSTAIN

LEVEL ATTACK EQ SUSTAIN

ATTACK EQ

Dan Palmer (Death by Stereo)

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 tapping the footswitch.

DigiDelay® Digital Delay

Features7 Up to 4 seconds of delay7 Seven different delay modes7 Level, Repeats and Time controls7 CIT™ Cabinet Modeling can be

enabled for direct-to-board live or studio recording

“I love this delay!”

DigiDelay® Digital Delay 41

Tape Delay

Chorus Delay

Solo Delay

Slapback Delay

LEVEL REPEATS TIME

LEVEL

LEVEL REPEATS TIME

LEVEL REPEATS TIME

REPEATS TIME

MODE -setting 4

MODE - setting 5

MODE - setting 1

MODE - setting 2

Phil Campbell (Motörhead)

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

Boing” when you dampen the strings. Plus there’s no reverb tail flutter as with some units, which is especially important for long reverb decay settings. Features7 Seven different reverb types7 Level, EQ and

Decay controls7 CIT™ Cabinet

Modeling can be enabled for direct-to-board live or studio recording

DigiVerb® Digital Reverb 43

James Fukai (Trust Co./Hematovore)

Reverse Reverb

Surf Reverb

Big Room

Smooth Hall

LEVEL EQ DECAY

LEVEL

LEVEL EQ DECAY

LEVEL EQ DECAY

EQ DECAY

TYPE - setting 6

TYPE - setting 7

TYPE - setting 3

TYPE - setting 1

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.Features7 Vintage overdrive tone

Bad Monkey™ Tube Overdrive

45

7 Faithfully maintains guitar’s tone7 Level boosts the output level of your

guitar signal7 Low adjusts boost and cut bass

frequencies7 High adjusts boost and cut

upper harmonics7 Gain provides smooth tube amp

distortion to your sound7 Dual Outputs; The Amp output is

for connecting directly to a guitar amplifier. The Mixer output features Cabinet Emulation circuitry for connecting directly to a mixing board or recording device without having to mic up

Bad Monkey™ Tube Overdrive

Punchy Drive

Warm Rhythm

Lead Boost

Texas Tone

LEVEL LOW HIGH GAIN

LEVEL GAIN

LEVEL LOW HIGH GAIN

LEVEL LOW HIGH GAIN

LOW HIGH

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

4�

Features7 Subtle overdrive to scorching

distortion7 Sweet sustain for soloing7 Low adjusts boost and cut of bass

frequencies7 High adjusts boost and cut of upper

harmonics7 Gain sets the maximum distortion

amount when playing your hardest7 Dual Outputs; The Amp output is

for connecting directly to a guitar amplifier. The Mixer output features Cabinet Emulation circuitry that lets you connect directly to a mixing board or recording device without having to mic up

Screamin’ Blues™ Overdrive/Distortion

Little Dirt

Hot Rhythm

Squawkin’

Screamin’ Lead

LEVEL LOW HIGH GAIN

LEVEL GAIN

LEVEL LOW HIGH GAIN

LEVEL LOW HIGH GAIN

LOW HIGH

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.Features7 Responds to playing dynamics7 Level controls the distortion output

level of your guitar signal

Hot Head™ Distortion

4�

7 Low adjusts boost and cut of bass frequencies

7 High adjusts boost and cut of high frequencies

7 Gain provides mild to hot tube amp distortion

7 Dual Outputs; The Amp output is for connecting directly to a guitar amplifier. The Mixer output’s Cabinet Emulation circuitry lets you connect directly to a mixing board or record-ing device without having to mic up

Hot Head™ Distortion

Classic Stack

British Modern

Solo

Country Blues

LEVEL LOW HGHI GAIN

LEVEL GAIN

LEVEL LOW HIGH GAIN

LEVEL LOW HIGH GAIN

LOW HIGH

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

Features7 Versatile distortion for the modern

guitarist7 Awesome crunch and sustain7 Level controls the distortion output

level of your guitar signal7 Low adjusts boost and cut of bass 7 High adjusts boost and cut of high 7 Gain controls distortion gain from

moderate to extreme7 Dual Outputs; Amp output is con-

nects directly to a guitar amplifier. Mixer output’s Cabinet Emulation circuit lets you connect directly to a mixing board or recording device without having to mic up

Grunge® Heavy Grind Distortion

Raw Power

Cutting Sustain

Heavy and Smooth

Insane

LOUD LOW HIGH GRUNGE

LOUD GRUNGE

LOUD LOW HIGH GRUNGE

LOUD LOW HIGH GRUNGE

LOW HIGH

Death Metal™ Lethal DistortionThe 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.Features7 Maximum distortion for today’s metal7 3-band EQ for total control

Death Metal™ Lethal Distortion 53

7 Level boosts the output level of your guitar signal

7 Low adjusts boost and cut of bass frequencies

7 Mid adjusts boost and cut of midrange frequencies

7 High adjusts boost and cut of high frequencies

7 Dual Outputs; The Amp output is for connecting directly to a guitar ampli-fier. The Mixer output features Cabi-net Emulation circuitry connecting directly to a mixing board or record-ing device without having to mic up

Death Scoop

Smooth Sustain

Knife’s Edge

Rectified

LEVEL LOW MID HIGH

LEVEL HIGH

LEVEL LOW MID HIGH

LEVEL LOW MID HIGH

LOW MID

These examples are just some of the effects chains you can create using our single-effects pedals. Each one delivers a unique tone and sound. Use them to help you select the right combination of DigiTech pedals to develop the perfect sound for your playing style.

Guidelines for connecting effects pedals: 7 Units that detect an envelope should

be connected close to the guitar. 7 Connect EQ after your distortion. 7 Connect reverb units toward the end

of the effect chain. 7 Taking advantage of stereo

connections will add depth and dimension to any application.

DigiTech®Effects Pedals…Chain ‘em up! Hard Rock

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The Hot Rod™ is a stand-out hard rock pedal, letting you morph from smooth to gnarly distortion sounds. Use the Hot Rod’s DS-1* model setting (pg. 25)

into the DigiVerb’s Smooth Hall (pg. 43) to fatten up rhythms and DigiDelay’s Solo Delay setting (pg. 41) to enhance solos.

DigiTech®Effects Pedals…Chain ‘em up! Hard Rock

DigiVerb DigiDelay Hot Rod

55

Turbo Flanger Metal MasterDigiVerb

We start with the devastating metal distortion of Metal Master’s Death Metal setting (pg.29) to deliver head banging tone and sustain. “Unchain”

Metal Fusion

your sound by adding the Turbo Flange’s Jet Flange setting (pg.35) and using the DigiVerb’s Smooth Hall setting (pg.43).

Set the Tone Driver to the Ibanez® TS-808* model setting (pg. 27) and experiment with the gain. The Main Squeeze’s Rock Sustain setting (pg. 39)

will add sustain, while the Multi Chorus’ Lush setting (pg. 31) and DigiDelay’s Solo setting (pg. 41) create a silky smooth fusion tone.

Tone Driver Main SqueezeDigiDelayMulti Chorus

Metal Fusion 5�

Death Metal

Want a solo tone that sounds like you used a refrigerator-size rack of effects? Use the Death Metal’s Recit-fied setting (pg. 53), the DigiDelay’s Chorus Delay setting (pg. 41) run into

the Multi Chorus set to Slow and Deep setting (pg. 31). Note that this chain is an exception with the chorus placed after the delay to create a wide chorus sound.

Multi Chorus DigiDelay

Killer Solo Guitar Synth

Hot Rod Synth WahDigiVerbDigiDelay

Add unison synth lines to your lead work by running the Normal output of the Synth Wah set to the Synth Sweep setting (pg. 33) into the Hot Rod on the Rat™* With Hair model setting

Killer Solo Guitar Synth

(pg. 25), use the DigiVerb’s Smooth Hall setting (pg. 43) and then to the DigiDelay using the Solo Delay set-ting (pg. 41). The Effect output then goes to another amp for keeping the signals separate.

5�

DigiVerb Screamin’Blues

Multi Chorus

This chain delivers tone that snarls. The Main Squeeze’s Rock Sustain setting (pg. 39) adds extra sustain for your solos. Set the Screamin’ Blues to the Little Dirt setting (pg. 47) and

Blues Electro-Acoustic

add the Multi Chorus to kick in a Rotary Chorus (pg. 31). Then take it over the edge by adding liveliness with the DigiVerb’s Big Room setting (pg. 43).

MainSqueeze

DigiVerb Bad Monkey MainSqueeze

Multi Chorus

Acoustic users will breathe new life into their sound using this chain. Experiment with the Main Squeeze’s Light Compression setting (pg. 39) to limit your peaks. Add a Bad Mon-key™ for some Punchy Drive (pg. 45).

Blues Electro-Acoustic

Then use the DigiVerb’s Smooth Hall setting (pg. 43) into Multi Chorus set at Slow and Deep (pg. 31). Listen to how big your sound becomes when you stomp your monkey... so to speak.

61

Hyper Phase Main SqueezeDigiVerb DigiDelay

For a really psychedelic clean sound, try this chain. Start with the Main Squeeze’s Light Compression set-ting (pg. 39) into the Hyper Phase’s

Classic Phaser setting (pg. 37). Add the DigiDelay set to Tape Delay (pg. 41) and DigiVerb set to Smooth Hall (pg. 43) for a truly ethereal experience.

Phaseadelic Country

Tone Driver Main SqueezeDigiDelay

Phaseadelic Country

Crisp and clean with just the right amount of sustain is what you get by combining the Main Squeeze’s Chickin’ Pickin’ setting (pg. 39) with the DigiDelay’s Slapback

Delay setting (pg. 41) for the perfect country pickin’ slapback. Use the Tone Driver’s Ibanez® TS-808 model setting (pg. 27) for an edgy country-rock tone.

63

GrungeMulti Chorus

Alternative Heavy Delay

That Seattle scene spawned a new generation of guitar heroes with their innovative, heavy driving guitar riffs. Using the Grunge set to

the Heavy and Smooth setting (pg. 51) and the Multi Chorus set to the Rotary Chorus (pg. 31) setting gear you sounding like Grunge Spirit.

DigiDelay Distortion Factory

Alternative Heavy Delay

When you have a fine distortion pedal like the DF-7 Distortion Factory you really want the tone to come through when you play. That said, this chain is simple. Use the DF-7’s model of

the Boss® DS-1™* (pg. 20) and plug it into the DigiDelay using the Chorus Delay setting (pg 41). Depending on your tempo, adjust the Time knob to get this syncopated rhythm.

65

Hot Head WhammyDigiDelay

Whammy™ Octave Whammy™ Detune

To get that classic octave up pitch bend made famous by guitar leg-ends, we have the Whammy using the Octave Up (pg. 19) setting run-

ning into a Hot Head™, using the Classic Stack setting (pg. 49) and then into a DigiDelay using the Tape Delay Setting (pg. 41).

WhammyDigiDelay Screamin’

Blues

Whammy™ Octave Whammy™ Detune

This chain uses Whammy’s detune capabilities to create an extra thick guitar tone. Use the Whammy’s Variable Detune setting (pg. 19) and alternate between moving the pedal forward (deep) and back (light) to

create the texture you want. The Screamin’ Blues set to Little Dirt (pg. 47) and the DigiVerb’s Smooth Hall setting (pg. 43) give this sound the finishing touch.

6�

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

6�

Tim King (SOiL)

Bass Driver™ Bass Overdrive/DistortionLevel, Tone and Blend controls. Features

7 Exclusive Distortion Morph control7 Level, Tone and Blend controls

“The only overdrive pedal for bass that can deliver the power, the crunch, and the

clarity needed to set your tone over the edge.

This pedal is a monster!”

based on SVT™ Growl*

based on Boss® ODB-3™ Overdrive*

based on Pro Co Rat™*

Fuzz

LEVEL TONE BLEND MORPH

LEVEL MORPH

LEVEL TONE BLEND MORPH

LEVEL TONE BLEND MORPH

TONE BLEND

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

Rudy Sarzo (DIO)

�1

Features

7 Select from 1 to 16 voices7 Level, Speed &

Depth controls7 CIT™ Cabinet

Modeling for direct- to-board live or

studio recording

“When I aim for thethick rich fat classicchorus tone, the BassMulti Chorus is myweapon of choice.”

Bass Multi Chorus™ Bass Multi-Voice Chorus4 Voice Chorus

8 Voice Chorus

16 Voice Chorus

Subtle Chorus

LEVEL SPEED DEPTH VOICE

LEVEL VOICE

LEVEL SPEED DEPTH VOICE

LEVEL SPEED DEPTH VOICE

SPEED DEPTH

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

Laz Pina (Ill Niño)

�3

a formidable tone-shaping tool for bass guitar.Features7 dbx® OverEasy® studio-quality

compression technology

7 Separate Low & High Band controls

7 Level and Crossover controls

“The Bass Squeeze controls my bass without losing my tone.”

Bass Squeeze™ Dual Band Bass CompressorThick Bottom

Glassy Top

Mild Compression

Funk Slap

LEVEL X-OVER LO-BAND HI-BAND

LEVEL

LEVEL

LEVEL

X-OVER

X-OVER

X-OVER

LO-BAND HI-BAND

LO-BAND HI-BAND

LO-BAND HI-BAND

Bass Synth Wah™ Bass Envelope FilterThe 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

Corey Lowery Dark New Day

�5

velope, Synth 1, Synth 2, Filter 1, Filter 2, and Octa Sub effects.Features7 Seven different envelope, filter, and

synth types7 Sens, Control and Range knobs7 Triggering and Step capability

“The X-Series pedals color my sound but doesn’t change the personality of my tone.”

Envelope w/Octa Sub

Filter Sweep

Octa Sub w/Filter

Bass Ya

SENS CONTROL RANGE TYPE - setting 2

SENS

SENS RANGE

SENS RANGE

RANGECONTROL

CONTROL

CONTROL

TYPE - setting 3

TYPE - setting 5

TYPE - setting 7

BassMulti

Chorus

BassSynthWah

DigiVerb

Synth Bass Funk Filter

You will make heads turn with this effects chain. The Bass Synth Wah delivers a classic monophonic synth groove Bass Ya sound (pg. 75) without a special pickup. Add the

Bass Multi Chorus 4 Voice Chorus setting (pg. 71) to widen the sound. Drip in a bit of DigiVerb Smooth Hall (pg. 43) for extra flavor.

BassSynthWah

BassSqueeze

��

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 w/Octa Sub (pg. 75) adds more funk than you can stand.

Synth Bass Funk Filter

BassSqueeze

Use this chain to create an unbe-lievably thick bass tone. The Bass Squeeze’s Mild Compression setting (pg. 73) keeps your tone under con-

Fusion Bass Nu Metal Bass

BassMulti

Chorus

DigiVerb

trol by smoothing out the highs and lows. Use the Bass Multi Chorus’ 8 Voice Chorus setting (pg. 71) to add low end, and experiment with the DigiDelay to add dimension.

DigiDelay BassMulti

Chorus

BassDriver

��

Your bass will growl like never before using the Bass Driver’s Fuzz setting (pg. 69) in this head-ripping effects chain. Push the sonic barrier by add-

Fusion Bass Nu Metal Bass

ing the Bass Multi Chorus’ Subtle Chorus setting (pg. 71) and the DigiDelay’s Solo Delay setting (pg. 41).

All trademarks and registered trademarks are the property of their respective companies. © 2006 Harman International Industries, Incorporated. All rights reserved.

Printed in USA. P/N 18-1503-C

HEARING IS BELIEVING!Check out all of the pedal settings and effect chains

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