In 1982, Tom Scholz—visionary guitarist and founder of pioneering hard rock band Boston—designed and released the Rockman X100 headphone amp through his electronics company Scholz Research & Development (SR&D). But it was more than just a headphone amp—with recording console connectivity and several tone tweaking features and built-in effects, the X100 became the secret weapon in the studio that would go on to define the polished, chorus-laden sound of 1980s arena rock.

A key component of the original X100’s sound was a complex compression circuit for keeping the signal clear whether clean or dirty. The MXR Rockman X100 Analog Tone Processor comes equipped with the same circuit, tuned for a slow release on clean modes and a fast release on dirty modes. The overall amount of compression is tied to the Input Gain level—more input gain means more compression.

Like the original, the Rockman X100 Analog Tone Processor features four different presets, selectable via the MODE button: two differently equalized clean modes with high-power sustain and two distinctively gritty dirty modes. The default setting, CLN2 mode, provides a clean, crystal clear tone, while CLN1 mode offers a mid-focused EQ curve for a tight, punchy sound. On the dirty side, Edge mode boasts moderate clipping that’s highly sensitive to Input Gain adjustments and cleans up nicely at low guitar volume levels. Distortion mode delivers high-energy overdrive and sustain that’s perfect for easy, fluid lead tones.

• Seamless Morphing: Explore fuzz tones from vintage to modern with the MOOD knob
• Analog Warmth + Digital Precision: No emulation, just real analog fuzz circuits
• Built-in Octaver & Ring Modulator: Create wild, glitchy, and synth-like textures
• MIDI & Preset Control: Save and recall 128 presets for total control
• Expression Pedal Input: Morph between two fuzz settings in real time

You’ll also notice the Stock/Mod switch, which only affects the pedal’s Swell circuit. On the original unit, the Swell sounded a little off on the lower frets. So DS Custom added a small modification that improves the sound on the lower frets without affecting anything else.

And as a result, the XPC is one of the most fabulous fuzz pedals on the market, faithfully reproducing the gain of the Prescription Electronics references.

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.

No matter what sound you’re after, the Simplifier X is happy to oblige with two fully independent all-analog amplifier sections and a grand total of six stunning amplifier voices. Furthermore, the Simplifier X’s mirrored layout is a tone-chaser’s dream setup, including fully independent Resonance knobs, Presence controls, Pre Type/Pwr Type switches, full 3-band EQs, and Cabsim sections.

The Simplifier mk2 hosts 3 separate preamp options and a 3-band EQ to ensure top-notch voicing in any scenario.•.

• AC Brit : A sweet, sparkling voicing based on the AC30, known for its twinkling cleans and emotive verge-of-breakup grind.

• American : Supplies the quacky midrange and chunky bass of a 1960s Fender. Sweet when clean, roars when pushed!

• MS Brit : Packs on the glassy gain and forward character of a vintage Plexi stack.

The Simplifier mk2’s Combo, Twin, and Stack cab simulation controls are an excellent way to add a tight boost to your signal. The MIC position control has been replaced with a Speaker control based on the V30, Blue Alnico, and Greenback. Additionally, 3 separate classic cab types are available in Combo, Twin, and Stack configurations, so you’re ready to hit any venue!

A dedicated reverb knob provides crisp side-chained plate reverb to add width to your tone. Practicing along to jam tracks? Monitoring MultiTracks in your in-ears? The Auxiliary input lets you live monitor songs from your music library while you play, saving the need for a dedicated in-ear system.

The „Input“ Control sets the input impedance. Similar as if you would roll down the volume of your guitar, the fuzz cleans up. That let’s use the pedal as a low gain overdrive even if you plug in a guitar with high output pickups. With the „Bias“ control you can dial from a higher gain fuzz with fizzier top to lower gain almost overdrive with more headroom and more output volume. And in-between there you find your favorite.

The Bias is also a great help to find your sweet spot in any situation, since the Germanium Transistors are sensitive to temperature changes. The 3-way switch controls the bass. On the left you have the classic Fuzz Face setting with most bass. On the right the bass is cut but still full and round. In the middle it has even more bass cut for more definition.

This pedal does perform best when first in the signal chain, just after the guitar. It doesn’t like buffers. But it likes overdriven tube amps and overdrive pedals. The russian germanium transistors are selected and matched.