A perfect solution for these tricky situations is a combination of a boost and a gate. A total of 30db transparent BOOST and a unique innovative GATE defined by the fast reaction and smooth transitions, provide a solid punch for the desired tone. On top of that, a COLOR switch allows for a quick and easy mid tones shaping.

The TRIAX solves a lot of technical problems on its own and also provides a solid ground for comfortable playing with self confidence.

We’ve been waiting for the return of the best EQ pedal on the planet for a while now, the ParaEq MKII is finally here!!! New format, more compact, more possibilities and better performance, we didn’t think it was possible to improve the ParaEq, and yes, the MKII version is a killer!!

The ParaEq MKII is the most efficient and effective pedal equalizer on the market. It’s simply a bombshell what Empress has achieved with this super compact little EQ. In terms of versatility and efficiency, the ParaEq MKII exceeds all your expectations and buries the few competitors, thanks to its numerous functions such as:

– 3 parametric bandwidths: Bass, Mid, High,
– up to 15 dB Cut or Boost per bandwidth
– 3 waveforms per bandwidth, Wide, Medium or Narrow
– a 30dB booster included in the master section, with Boost level adjustment
– frequency ranges from 35Hz to 20KHz

Whether in the direct line after your instrument or in the effects loop, the ParaEq MKII can drastically transform and equalize your sound like no other EQ. In a slice of the mixing desk or in Mastering use, the ParaEq MKII also works miracles… And since the pedal, operating at 9VDC, delivers up to 27 volts of power internally, you have mind-blowing headroom and signal cleanliness worthy of the best studio devices on the market.

In short, here is the most complete and effective EQ pedal on the market.

The ParaEq MKII Deluxe is the most efficient and effective pedal equalizer on the market. It’s simply a bombshell what Empress has achieved with this super compact little EQ. In terms of versatility and efficiency, the ParaEq MKII Deluxe exceeds all your expectations and buries the few competitors, thanks to its numerous functions such as:

– 3 parametric bandwidths: Bass, Mid, High,
– up to 15 dB Cut or Boost per bandwidth
– 3 waveforms per bandwidth, Wide, Medium or Narrow
– a 30dB booster included in the master section, with Boost level adjustment
– frequency ranges from 35Hz to 20KHz

In addition, the 4 new controls of the Low-Pass and High-Pass Filters and the Low-Shelf and High-Shelf Filters of the Deluxe version make the precision of the action of the ParaEq MKII Deluxe absolutely unique and mind-blowing. Whether in the direct line after your instrument or in the effects loop, the ParaEq MKII Deluxe can drastically transform and equalize your sound like no other EQ. In a slice of the mixing desk or in Mastering use, the ParaEq MKII Deluxe also works miracles… And since the pedal, operating at 9VDC, delivers up to 27 volts of power internally, you have mind-blowing headroom and signal cleanliness worthy of the best studio devices on the market.

In short, here is the most complete and effective EQ pedal on the market.

ISP Technologies introduces the revolutionary patent pending HUM EXTRACTOR™ + DECIMATOR G, two channel, ultimate noise reduction system. After years of musicians fighting the major noise problem of power line frequency hum, ISP Technologies eliminates this dreaded noise with the new patent pending HUM EXTRACTOR™. Power line frequency hum is most commonly caused by stray magnetic fields generated from transformers or power lines in close proximity to the instrument pickups. While Hum Bucking pickups have been in use for years to help reduce this problem, if the level of hum is severe, even Hum Bucking pickups are not enough and many players still prefer the sound quality and tone of single coil pickups.

Line frequency hum has heavy harmonic content above the line frequency, which occurs at every interval of the line frequency. The Decimator technology has provided excellent ability to eliminate this for high gain applications by attenuating the output signal when the guitar notes decay but even the Decimator cannot remove the hum components that occur at clean or low gain settings since there is no masking of the noise at these settings. Once there is a guitar signal, the Decimator will come up to unity gain and at lower gain settings the hum will become audible. As all players know, the severity of the hum varies from venue to venue but it can destroy an otherwise great performance when severe. No other option exists that can offer the transparency to eliminate the hum while preserving the tone and sonic quality of the original signal. The HUM EXTRACTOR does the impossible and removes the hum without altering the tone of the instrument.

The position of the HUM EXTRACTOR can be selected to operate in either Channel 1 or Channel 2 based on the users preference and rig configuration. The HUM EXTRACTOR + DECIMATOR G is a high performance two channel DSP processor with three noise reduction operations in one unit. The HUM EXTRACTOR, typically in channel 1, is inserted between the guitar output and the input of the guitar rig. Channel 2 is then inserted after the gain or preamplifier in the rig and provides Decimator Noise reduction with the newest patent pending Decimator X technology for the ultimate adaptive release. The Decimator level detection is derived from the direct guitar input signal after removal of the hum components providing perfect tracking of the Decimator functions without the hum components. This allows greater precision for the Decimator to remove gain noise and gain hiss.

The DSP based Decimator also includes a third noise reduction function, high frequency sliding filtering, which is found in our high performance ProRack G rack-mount processors. The sliding filter tracks the high frequency content in the input signal and will adaptively operate to eliminate high frequency noise from the output signal. The HUM EXTRACTOR + DECMIATOR is dynamic in operation with a separate threshold level adjustment for both HUM EXTRACTOR and DECIMATOR Noise Reduction. Once the threshold of the Decimator is set, the user selects the FILTER TRACKING button to adjust the relative operating point for the Dynamic Filter via the Decimator Threshold control. Once set, the Decimator threshold will then adjust both the Threshold of the Decimator downward expander and the Dynamic High Frequency sliding filter. The Dynamic sliding filter will open to allow the high frequency content in the input signal but will adaptively track this HF content and effectively eliminate high frequency HISS even when playing low frequency bass notes. The combined operation of HUM EXTRACTOR, Decimator Downward Expansion and Decimator Adaptive Sliding Filtering offer a level of real time noise reduction never before available. High quality A/D and D/A converters along with 32 bit floating point DSP processing means state of the art signal path audio quality if provided with zero digital aliasing.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we’ve now added a fully variable sidechain high pass filter, and a two position ‘tone + colour’ circuit which adds gentle tone sculpting and harmonic distortion, giving your bass some delicious character.

Bass compressor has a fully adjustable sidechain hpf on a pot. It filters from 20Hz to 400Hz. MKII comp has just two preset hpf frequencies. The sidechain hpf is super useful for instruments that have a lot of low frequency information, such as a bass, to be able to level out high notes that pop out but at the same time not completely squash all your low end. Making it fully adjustable lets you dial it in more precisely. I’d say the hpf is much less crucial on guitar, arguably the whole reason it’s even in the mkII comp is to make it more bass friendly.

Bass compressor has a “Tone + Colour” switch instead of the tone knob in the MKII. It has two preset eq curves that were crafted with bass in mind. One is a mid scoop centered around 300Hz and slight low freq boost, the other is a mid boost centered at 2kHz. The boost helps bring out string and pick attack and sounds nice and aggressive, and the scoop clears up mud and has a bit of a rounder, warmer tone and just makes everything sound better imo! The tone knob on the mkii compressor is a tilt eq which is great for guitar but doesn’t really work well for bass because turning it up removes your low end, and turning it down makes a bass sound really muffled.

The Colour circuit is engaged when you put one of the eq curves on. It’s a very mild clipping circuit that just adds in a bit of harmonic distortion. It’s heavily filtered to sound good with bass. It actually sounds great with guitar too, but we needed something to make the bass comp extra special! It does add a bit of volume boost when it’s engaged, so we gave the option to turn the colour circuit off on either, or both of the eq shapes (there’s an internal dip switch) in case somebody still wants to use the eq shapes but wants the sound to stay super clean.

The Bass compressor has a slightly extended low frequency response, most noticeable with low compression (input knob set low) settings. So no matter how it’s set, it extends all the way down to 20Hz

Enter the Empress Compressor MKII, a compressor pedal with all the controls needed to truly take advantage of this extremely useful effect. Thanks to its wide range of controls and transparent compression characteristics, the Empress Compressor MKII is the do-all answer for any guitarist.

Attack and release controls give you precise control over the compression characteristics of your guitar signal. Super fast attack times (down to 50 microseconds) allow for 1176-like compression that has been unavailable in a pedal until now. The mix knob lets you blend wet (compressed) and dry signals in parallel, allowing for transparent dynamic control. A gain reduction meter helps set the compressor to function optimally. Also available is input metering and “both” which overlaps the input and gain reduction meters. With 3 available compression ratios there is a huge range of sounds available.

They’ve also added a sidechain, which allows for adjustment of the signal going to the compression circuit or for keying, and inout/output jacks, all on the upper side of the pedal, allowing to save space in your pedalboard.

Not limited to the guitar, this compressor works great on bass, keys or even vocals!

Whether you normally play straight into your amplifier, or you shape your sound with a pedalboard on the way in, giving your guitar signal a boost (whether with a pedal or dialing up your volume control) can be the perfect way to add that extra sparkle and intensity. You’ll love that the Compadre offers an independent boost section, and even more so because it offers three EQ curves to suit a variety of styles. Choose Flat for a transparent, full-frequency boost. Or use it as a treble boost to add grit and sparkle without getting muddy. Or select Mid for a punchy midrange boost that will secure your guitar’s spot in the mix.

Other noise gates have a release knob compromise to adjust the release response in an attempt to best match the release to your playing style. With a typical gate, if you set a fast release to remove noise, the instant you stop playing the long sustained notes will either get an undesirable cutoff or will chop off the signal with a very ugly modulated release as the signal decays. The DECI-MATE G provides a fully adaptive release response, which tracks the envelope of the signal and instantly changes the release from super fast to a long, smooth release for sustained notes. The new Decimator X™ technology is based on our new patent pending “Time Vector Integration” which eliminates any modulation of the sustained note. This allows long sustained notes to providing amazingly smooth and transparent release response. Also, the DECI-MATE G won’t alter your tone. The DECI-MATE G is a full analog design without any digital artifacts or aliasing for the most transparent noise reduction available.

In order to fit the additional loop connections and keep the small package size the loop connections are done via a 3.5MM RTS jack and the breakout patch cable is included. With the DECI-MATE G, connect all your high gain pedals in the loop for totally noise free operation regardless of how much noise your gain pedals create, and then switch to totally clean without having to adjust the threshold. The DECI-MATE G can also connect to a series loop of a typical guitar amplifier and eliminate both the noise from pedals in front of the amp and any preamplifier gain noise from the guitar amplifier. The new patent pending Time Vector Integration provides the absolute best release tracking, for incredibly smooth long sustained note release, and will instantly adapt for super fast release with quick staccato notes. Don’t settle for a compromise in performance when you can have the best, most transparent real time noise reduction available.