MI Audio GI Fuzz Pedal
The GI Fuzz guitar effect pedal uses a trio of high gain silicon transistors, and offers ultimate flexibility with 8 controls: Fuzz - From nothing to all out fuzz; Load - input impedance control; Bias - controls the bias of the 2 transistors; Body - midrange control; Tone - Balancing control for controlling highs and lows Volume; Bright switch; Internal Gain trimmer. Looks great too, with a professionally powder-coated and silk-screened enclosure, measuring only 4.3" x 2.2".All MI Audio guitar pedals have the following in common: Hand built with pride and passion in the Sydney workshop in Australia by the team of builders at MI Audio. Individually tested by Michael and carry a 5-year warranty. Built with the absolute highest quality components, on double sided, through-hole PCBs. Enclosed in a heavy-duty die-cast aluminum enclosure. The pedals have a heavy-duty true bypass, featuring a heavy duty 3PDT footswitch. The power supply of the pedals have been designed to allow you to power the unit from a DC source up to 25V, providing you with massive headroom and a huge output signal There is a 2.1mm barrel connection for external power connection....details

MI Audio Tube Zone v.4 Overdrive Guitar Effects Pedal
The MI Audio Tube Zone Guitar Effects Pedal delivers tone with valve amp-like response. The 4 clipping stages of the Tube Zone pedal are similar to the number of gain stages in a typical high gain tube preamp. The extremely flexible Tube Zone pedal has evolved since 1995 into a pedal that excels equally in low or high gain settings.Drive Control: The Tube Zone pedal's Gain control adjusts all 4 gain stages. The Tube Zone gets its unique tone by mimicking the signal path of modern valve amps, and by clipping the signal up to 4 times. This doesn't just make the Mi Audio Tube Zone great as a high gain pedal, but also as a low gain pedal. By having the Drive control operate multiple stages at once, you effectively control how many of these stages clip. With the gain turned down low, it may be that just the last stage clips (or maybe last 2 stages). As the Drive increases, more stages light up. This is very different to the way that pedals normally work, where one stage has its gain changed dramatically in order to cover higher gain sounds.With the drive set to 50%, you're actually only using about 3% of the available gain. By designing the Drive sweep like this, you're able to get a lot of control over the lower gain sounds. So despite the fact that the Tube Zone has about 250% more gain than the most popular 'metal' pedal on the market today, you can still have very fine control over the lower gain sounds—which are just stunning!Character Control: This is effectively a pre-overdrive bass control. By controlling the amount of bass in the pre-overdrive signal, you can change the character or feel of the overdriven sound. By turning character all the way down, you can get great, tight, high gain sounds, wonderful for palm-muting. Turning up the character adds more 'momentum' to the tone, and works wonderfully with single note work. Most other pedals will only have one static 'character' for the overdrive.Tone Control: This is a 'balancing' control. Unlike other designs, which progressively roll off the top end of your guitar sound, this tone control affects both the low and high frequencies. It's effectively like having a 2-band low/high EQ. As you turn down the tone control, the lows increase, while the highs increase. Visa versa as you turn up the tone control. This, in conjunction with the mid, brightness and internal presence controls means that you can dial in almost any tone you like. Mid Control: The first generation of Tube Zones had a 2-position mid switch (mid hump, and mid cut). the second generation had a 3 position switch (mid hump, 'flat' and mid cut). For the latest version of the Tube Zone, the mid control has evolved into a continuous external control. The reason for this is that the mids are probably the most important frequencies for determining the overall sonic footprint of the pedal, so the more control the better! The mid control featured on the Tube Zone is un...details

MI Audio Blue Boy Deluxe v.2 Overdrive Guitar Effects Pedal
The MI Audio Blue Boy Deluxe v.2 Overdrive is the king of smooth, singing low and medium gain sounds. The Blue Boy overdrive is an amazing effects pedal for Blues and Fusion leads.Gain Control: The Gain control of the Blue Boy Deluxe is designed to have a wide sweep of gain sounds. With the Gain control at minimum, the sound is pure clean. At about 60%, you have as much gain as a TS style pedal. With the gain maxed, you have 3 times the gain of a TS type pedal.Despite this amount of gain, the Blue Boy pedal's delivery is very smooth. At the same time, it is very faithful to your original tone, so if you dig in, the Blue Boy Deluxe will follow very nicely. The Blue Boy Deluxe doesn't compress as much as a typical TS type of pedal. This makes it a much better mate than a TS type of pedal for higher output single coils and humbuckers.Character Control: This is a feature which is not available from any other manufacturer. This is effectively a pre-overdrive bass control. By controlling the amount of bass in the pre-overdrive signal, you can change the character or feel of the overdriven sound. By turning character all the way down, you can get great, tight, high gain sounds, wonderful for palm-muting. Turning up the character adds more 'momentum' to the tone, and works wonderfully with single note work. Most other pedals will only have one static 'character' for the overdrive.Tone Control: This is a 'balancing' control. Unlike other designs which progressively roll off the top end of your guitar sound, this tone control affects both the low and high frequencies. It's effectively like having a 2-band low/high EQ. As you turn down the tone control, the lows increase, whilst the highs increase. Visa versa as you turn up the tone control. This, in conjunction with the mid, brightness and internal presence controls means that you can dial in almost any tone you like.Mid Control: A dedicated midrange control is very important as the mids dictate how well a pedal sits in a sonic mix. The mids control just the midrange, whilst the tone control adjusts the low/high balance. The mid control featured on the Blue Boy Deluxe is unique in that it is highly interactive with the tone control.Brightness Control: This was initially an internal control (like the character control), but has been turned into an external control. The brightness control was initially designed to allow users to match the brightness of the pedal for their rig and taste. It was intended as a set-and-forget control for people with a consistent rig. However, a common request from many professional players who found themselves using different 'house-rigs' every night was to make this control external so that they sound set the brightness from night to night. This is the last tone shaping control in the signal path.Volume Control: The final output section of the Blue Boy Deluxe has been designed to provide you with maximum output volume. With the volume...details

MI Audio Crunch Box v.3 Distortion Guitar Effects Pedal
The MI Audio Crunch Box Distortion Guitar Effects Pedal brings you high-gain British amp distortion in a stompbox. MI Audio did a careful study of the way that modern British style amps get their overdrive and found that there was a very big concentration of the frequency information in the midrange. The Crunch Box distortion pedal captures the huge crunch of a Marshall amp on steroids and has become one of MI Effects most popular pedals. The Crunch Box is of the fastest selling boutique distortion pedals in the world.Simple and straightforward, with just gain, tone, volume and an internal presence control, the Crunch Box is based on a multiple clipping architecture (the signal is clipped 3 times. In the lower gain range, the pedal's tone is very punchy and throaty. There are some great classic rock rhythm sounds to be found in there. As the gain is wound up, the Crunch Box develops a beautiful singing lead tone. Pinch harmonics are a breeze. The tone control has a wide sweep with a lot of top end. I have put in there more gain than anyone should need, but due to the way I handled the pre-overdrive tone shaping, the pedal always stays tight and each pickup retains its character, including single coils. The Crunch Box has a lot of volume up its sleeve. You will find though that 12 O'clock is close to 'neutral'.An Internal Presence Control helps control the 'shape' of the pedal. By winding up the presence control, the lows won't feel as powerful, which some people might find to be a bit too much. Also, this creates the effect of giving the pedal even more top end. So with the new Crunch Box, there is no chance that the pedal will be too dark. The Internal Presence Control is very useful if you wish to match the Crunch Box to your amp because some amps can be a lot brighter/darker than others....details

MI Audio Blues Pro v.3 Overdrive Guitar Effects Pedal
The MI Audio Blues Pro Overdrive Guitar Pedal's no-nonsense circuitry offers effects that are very 'immediate'. There are no internal trimmers, so that with the Blues Pro you get a very easy-to-use pedal, with the classic configuration of Gain, Tone and Volume. The MI Audio Blues Pro is a bit compressed, which gives the pedal a bit of extra punch. Blues Pro is an overdrive that also sounds throaty in high gain settings.In the Fuzz mode the tone control becomes more of a 'sponge' control. With the tone all the way up, the Blues Pro pedal sounds like a louder version of the original. As you turn the Tone control down, the response time of the Blues Pro increases. This sounds particularly cool on chords. Turn the MI Audio Blues Pro Overdrive effect's Tone control all the way down, and the tone takes a second or two to settle....details

MI Audio Boost 'n' Buff v.2 Guitar Effects Pedal
The ultra quiet Boost 'n' Buff v.2 Guitar Effects Pedal, from MI Effects, offers up to a 35dB boost and has a Class A, (single transistor) design. In the lower gain range, the Boost 'n' Buff stompbox is a flat booster (<15db). In the upper range, it's a treble booster (>15db). In bypass mode, it's an ultra high input impedance buffer (5Meg!). The Boost 'n' Buff guitar pedal is simple to operate with Volume and Gain Controls and a Heavy Duty 3PDT On/Off footswitch. Operates off 18V (2 x 9V batteries) internal power or an external power supply (sold separately). Bypass Mode/Buffer: In bypass mode, the MI Audio Boost 'n' Buff acts as an ultra high input impedance/low noise buffer. The input impedance is approximately 5 Meg. With such a high input impedance, your guitar pickups don't need to deliver a lot of current in order to reproduce their full natural bandwidth. You can drive cable lengths as long as you like without sacrificing tone, and due to the ultra low noise design, you can use the Boost 'n' Buff out the front of dirt pedals or high gain amps without worrying about introducing any significant noise.By adding the Boost 'n' Buff in your signal chain, especially near the front of your effects, you'll notice that in bypass mode your guitar signal will have a bit more sparkle and top end detail. It's not that there are any special EQing 'tricks', but rather that the Boost 'n' Buff is faithfully reproducing all of the frequencies that are coming out of your guitar. Your tone will feel a bit more powerful, with more punch and almost as if there's more dynamic range and 'sustain' (although these are not the right words to describe it). You've got to try it out to feel what I'm talking about.Flat Booster: In the first half of the volume sweep, the frequency response of the Boost 'n' Buff is flat. This provides you with about 15db of flat boost before the frequency response of the pedal starts to become more treble booster-like. This is perfect for solo volume boosts. The one thing to note is that if you're going to use digital effects in your signal path, I'd suggest putting the Boost 'n' Buff after the digital effects to avoid overloading the A/D converters.Using the Boost 'n' Buff in the FX loop of an amp to act as a secondary volume control. Since it has ample headroom, line level signals are not a problem. So even if your FX loop is line level, you can still get quite a bit of boost using the Boost 'n' Buff. This way, your FX loops can also double as a solo volume booster as well as a standard FX loop. By putting the Boost 'n' Buff in the FX loop, you can use it to boost the volume of an overdrive channel. If you're using the overdrive channel of your amp, then putting any booster between the guitar and amp will just increase the amount of distortion as opposed to increasing volume. By putt...details