Now refined for modern musicians, the EP-Pro is a multifunction preamp and volume pedal that delivers refined tone shaping, flexible volume control, and that unmistakable analog warmth. That “always-on” sound you never wanted to play without now comes with dedicated volume and EQ control—classic tone with modern versatility.

Designed to strengthen the connection between instrument and player, the EP-PRO enhances not only your guitar’s sonic signature, but also the nuance, articulation, and responsiveness between your hands and your amplifier. It allows your touch to shape the sound naturally—not by hiding it behind processing, but by amplifying the most subtle expressions of your playing.

Thanks to the FET boost built into the pedal, you can enhance your guitar tone in a very natural and musical way—adding just the right amount of nuance and allowing the amp to respond more freely to your playing. In the end, it’s not just about volume, but about controlling feel and responsiveness so you can play more comfortably and achieve a better overall sound. This is a core principle of our tone philosophy: improve nuance and response, and you improve tone.

Another approach is to place the EP-PRO in your amp’s effects loop. In this position, it functions not only as a volume pedal, but also as a boost that lets you shape your tone directly at the power-amp stage. It’s a great way to add extra sparkle and nuance to your overall sound. You’re not just controlling volume—you’re enhancing the character of your amp’s output stage and giving it added shine.

You can also place the EP-PRO at the very end of your effects chain—just as many players did with the original EP Booster. Positioned after drive and modulation effects but before delays, it allows you to shape your final tone and control overall thickness and volume. In other words, it’s an ideal way to refine the entire signal at the end of your chain. The EP-PRO can serve as both a volume pedal and a final tone shaper, giving you easy control over how dense and cohesive your drive and modulation effects feel in the mix. Plus, you gain smooth control over your overall volume.

Finally, if you’re using digital platforms such as Neural, Line 6, or Fractal, digital amp simulations can sometimes lose some of the subtle analog sensitivity we love. For that reason, I recommend placing the EP-PRO in front of your digital chain. This allows you to fine-tune your input gain and shape your tone with the EP-PRO’s boost before the signal reaches the digital device. You maintain a more organic response and gain far greater control over your final sound. It’s a seamless way to dial in exactly the feel you’re looking for.

I know I’m repeating myself, but for decades guitarists around the world have dreamed of capturing the magic of the mythical Dumble Overdrive Special. Until now, the only way to get close was through digital modeling—solutions that can reproduce the sound, but never truly capture what makes these amps legendary: the feel under your fingers. The Dumblifier Overdrive Special by DSM Humboldt Electronics breaks that barrier. Thanks to our proven analog amplifier modeling technology, we have recreated not only the tone, but also the unique compression and touch response that make every note bloom, sustain, and sing—just like the original amps.

Unlike digital processors, the Dumblifier delivers the punchy compression and smooth sustain that Dumbles are famous for. Beyond studying schematics, recordings, and all available information, we had the rare opportunity to spend time with a genuine 1970s Dumble ODS in Tokyo, Japan. Thanks to a devoted DSM Humboldt fan, we were able to test and analyze this priceless relic—an experience that provided invaluable insights to fine-tune the Dumblifier’s design.

Until now, the few available alternatives were extremely expensive and produced only in very small, made-to-order quantities, never truly intended for broad accessibility. Most so-called “Dumble-style” pedals are designed to be placed in front of an amplifier, meaning the final tone depends largely on the amp itself. The Dumblifier goes much further: it can operate as a true analog amp replacement with cabinet simulation and stereo features, or as a two-channel overdrive pedal in front of any rig. Its TRS outputs with cabinet simulation bypass make it extraordinarily flexible.

The pedal features Clean and Overdrive channels that replicate the original tonal design. A shared 3-band EQ controls both channels, complemented by dedicated switches for Bright, Mid Boost, and Rock/Jazz voicings. Turning up the Clean channel’s volume pushes the Overdrive channel into a rich, saturated tone. The Ratio and Drive controls then allow you to fine-tune the gain intensity while balancing the volume between the two channels.

The Dumble Pre-Amp-Boost (PAB) adds +10 dB of gain and includes a Rock/Jazz switch offering two different tone stacks. These tone stacks provide either a Fender / Marshall / Vox-style EQ or a Baxandall-style EQ, ideal for jazzier tones.

A stereo cabinet simulation is built in, with emulations of G12M, G12H, and EV12L speakers. Users can also choose between 1×12 combo, 2×12 open-back, or 4×12 closed-back configurations, offering plenty of room for tone shaping.

The pedal also includes Room, Ethereal, and Plate reverbs, making it even more versatile. With all these features packed into a single unit, this pedal could very well be an all-in-one solution for many guitarists.

Housed in a durable, black anodised ergonomic chassis with striking, cosmology-inspired graphics, the Supermassive Black Fuzz features four rotary controls, an EQ selector switch and two footswitches. These features deliver vintage traditional fuzz tones as well as otherworldly distortions which, while definitely fuzz-inspired, but can be tweaked via the EQ for an appropriately massive impact. No other word does it justice…

Adhering to a long-standing Manson Guitar Works tradition, the control knobs themselves are as impressive as the tonal dimensions beneath them. There are no loose-fitting, plastic push-on knobs to be found here. Instead, the unit boasts solid, UK-produced controls crafted from 6082T6 aluminium, a substance so strong that bridges are made with it, securely held by a stainless-steel grub screw. Unique custom art is engraved onto each control to represent Magnitude, Warp, Dimension and Gravity, while LEDs clearly identify the pedal’s power and Peak filter status.

From day one, Matt has known that the Supermassive Black Fuzz should be deployable directly into a recording console, as well as part of a traditional guitar amplifier set-up. Sessions at various studios around the world, including Abbey Road in London, led to fine-tuning of every adjustable parameter until the right sound, and variations on that sound, were locked in. Trials continued across the Atlantic for feedback from studio engineers, incorporating Matt’s precise audio requirements.

As Manson Guitar Works’ objective has been to produce a UK-manufactured pedal, we have collaborated with Adrian Thorpy of Thorpy FX, whose reputation as a builder of high-quality, compact effects pedals is second to none. Adrian’s skills have meshed perfectly with our first pedal design, resulting in the sonic nirvana that fans of innovative music will be looking for.

Housed in a durable, black anodised ergonomic chassis with striking, cosmology-inspired graphics, the Supermassive Black Fuzz features four rotary controls, an EQ selector switch and two footswitches. These features deliver vintage traditional fuzz tones as well as otherworldly distortions which, while definitely fuzz-inspired, but can be tweaked via the EQ for an appropriately massive impact. No other word does it justice…

Adhering to a long-standing Manson Guitar Works tradition, the control knobs themselves are as impressive as the tonal dimensions beneath them. There are no loose-fitting, plastic push-on knobs to be found here. Instead, the unit boasts solid, UK-produced controls crafted from 6082T6 aluminium, a substance so strong that bridges are made with it, securely held by a stainless-steel grub screw. Unique custom art is engraved onto each control to represent Magnitude, Warp, Dimension and Gravity, while LEDs clearly identify the pedal’s power and Peak filter status.

From day one, Matt has known that the Supermassive Black Fuzz should be deployable directly into a recording console, as well as part of a traditional guitar amplifier set-up. Sessions at various studios around the world, including Abbey Road in London, led to fine-tuning of every adjustable parameter until the right sound, and variations on that sound, were locked in. Trials continued across the Atlantic for feedback from studio engineers, incorporating Matt’s precise audio requirements.

As Manson Guitar Works’ objective has been to produce a UK-manufactured pedal, we have collaborated with Adrian Thorpy of Thorpy FX, whose reputation as a builder of high-quality, compact effects pedals is second to none. Adrian’s skills have meshed perfectly with our first pedal design, resulting in the sonic nirvana that fans of innovative music will be looking for.

This Limited Edition limited to 100 pieces Gold Edition units have been hand-signed by Matt and these exclusive pedals are sold with an exclusive pick tin with the Supermassive Black Fuzz pedal artwork engraved onto the lid, a gold logo limited edition box, six signature plectrums and a Manson polishing cloth.

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.