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The Atlas Compressor offers a comprehensive collection of compression circuits that perfectly capture the tone and feel of the industry’s most sought-after compressors. Straight out of the box, Atlas delivers six different styles of compression, based on classic stompbox compressors as well as high-end rack units like the snappy 1176 compressor and the smooth and gentle LA2A optical compressor. Atlas also features advanced dual-band compression, which provides an independent set of controls for both the high and low frequencies. Each compression engine has onboard controls for Threshold, Ratio, Attack, Release, Output, Tone, and Blend, allowing for fine-tuned control over the compact One Series hardware.

The Optical Rack compressor engine is based on the legendary LA2A studio opto compressors from the early 60s. Optical compression controls its output level with light. Increasing the incoming audio level in the original units caused an electro luminescent panel to shine brighter. A photo resistor monitors that light panel and decreased the audio output level, as the panel got brighter. The result is a very smooth and gentle attack that imparts a full-bodied and natural sound on guitar, bass, or vocal. This compressor sounds great with clean strummed or arpeggiated guitar lines as well as acoustic guitars.

The Studio 76 compressor is based on the 1176 studio rack compressors of the late 60s and early 70s. This solid state FET compressor is known for its full body and super-fast attack. All of the attack times in 1176 compressors clock in at less than a millisecond. Studio 76 is a great compressor for fast and aggressive country pickin’ (think Johnny Hiland), slap bass, slide guitar and much more.

The Cubic Zirconia was inspired by opto compressors that use an LED in place of the LA2A’s electro luminescent panel. Using an LED as an optical compressor’s light source creates faster attack and release times, which generate artifacts that tend to make the compression sound a bit dirtier. This is a great compressor for playing tight and funky riffs on the guitar.

​A very aggressive and modern sounding compressor, the Studio Snap is based on hard-knee, VCA feed forward type compressor. It uses two compressors in parallel to handle both RMS level controls (“Root Mean Square” compression means that the compressor will react according to the “average loudness”) AND the peaks. The combination of these two compression approaches gives STUDIO SNAP its character.

The Atlas has two independent compressors that can be routed in a number of different ways. They can run in Series Mode (one running into another). They can also run in Parallel Mode and be mixed together with a Crossfade control. The Dual Band compressor runs in Band Split Mode, which is a version of parallel routing where one compressor controls only the higher frequencies (everything above 333Hz) and the other controls the lower frequencies (everything below 333Hz). With the Dual Band Compressor the high frequencies release faster than the lower frequencies, so as you sustain a chord the low frequencies remain compressed while the second compressor releases the high frequencies. The result is a beautiful blooming effect that accentuates high harmonics. This is a great compressor for slow ringing chords or lead lines with long sustained notes.

We have made it easy to transform the Atlas into a bass guitar specific compression machine. With the push of a button, you can convert all six of Atlas’ onboard factory presets into low-end responsive compression engines, precisely optimized for the complexities of the bass guitar.  The dynamic range and attack characteristics are much different for bass than guitar.  Typically, to achieve a smooth compressed bass tone, the attack and release ranges for compressors such as the 1176 FET compressor and LED optical compressors need to be dialed-in accordingly. Likewise, in dual compression modes, the cutoff frequency that separates the lower band from the higher band needs adjustments to accommodate the specific frequency range of bass guitar. It is all part of our mission to make the Atlas Compressor the most flexible and easy-to-use compression workstation on the planet.

IN STOCK

Lo-fi Engine

The Artifakt Lo-fi Elements is the first pedal of its kind, a comprehensive collection of all the hazy, scratchy, wobbly, and broken tones that epitomize the term 'lo-fi'." Like a mega-delay or mega-reverb, Artifakt is a “one-stop shop” for all the most sought-after lo-fi effects including old vinyl replications, tape modulation and saturation, bit crushing, sample rate reduction, dark reverb and echo, filtering, compression, glitch, and more. Source Audio has dedicated much of the past three years to meticulously honing each of these sounds as well as engineering an entirely new hardware design with an easy-to-use interface that places the pedal’s full capabilities at your fingertips.

Navigating through the seven positions of Artifakt’s effect selector knob unleashes a symphony of sonic transformations, each akin to engaging a new pedal with its own unique brand of lo-fi. The first effect on the dial is Radio, tune into its crackling nostalgic tones where static frequency filtering and noise generation evoke the charm of a vintage radio struggling to dial in a signal. The Tape engine conjures the sound of vintage tape machines by blending subtle compression, overdrive, tape flutter, and pitch modulation to invoke effects like slapback, chorus, doubling, and tape saturation. μVerb is a primitive reverb effect with bouncing echoes similar to the reverb on 8-bit gaming systems. The Crush effect voyages the realm of bit-depth quantizing and sample rate reduction, all finely sculpted with the resonance of a MoogTM-style ladder filter. Ladder, inspired by the revered R-2R ladder filter, offers both envelope and LFO modulation control for classic and dramatic filter sweep effects. Vinyl faithfully emulates the crackle and pop of vintage records, from pristine 180-gram vinyl to well-loved gramophone platters. Glitch adds an unpredictable edge, capturing fragments of your performance and hurling them back at random speeds and pitches.

Pairing the Artifakt Lo-fi Elements with Source Audio’s completely reimagined and reengineered Neuro 3 software elevates an already great pedal to new heights. Access free, stage-ready presets from Neuro’s expanding library of factory and Neuro Community presets. Explore Neuro’s extensive editing capabilities to blend and experiment with the various lo-fi elements mentioned earlier—it's a limitless
effects palette for crafting unique lo-fi sounds. Artifakt also boasts stereo inputs and outputs, full MIDI control via the 3.5mm TRS in and thru jacks, dual footswitches, 128 presets, and more.

"RADIO"

The Radio engine utilizes static frequency filtering and an LFO-controlled noise generation to recreate the sounds of half-busted vintage radios.  It also uses a faint ring modulator to generate the whizzing and whirring of a distant radio tower that is nearly out of range.

"TAPE"

Explore the many gorgeous effects created with vintage tape machines. Dial in classic sounds like  tape saturation, tape flutter, pitch modulation and slapback effects. The Tape engine also recreates many higher fidelity effects like chorus, doubling and flanger.

"µVERB"

A primitive reverb effect that uses delay plus diffusion. Similar to how reverb effects were simulated on 8-bit gaming.  The µVerb is also comparable to the Belton-Brick approach to creating dark, spring-like reverb simulations.

"CRUSH"

Explore the nasty side of digital audio! Deplete your signal’s fidelity beyond all recognition with Bit Crushing's brutal fuzz tones and Sample Rate Reduction's robot dance party. Mix them both together and even add a bit of chorus with the Option switch. 

"LADDER"

Explore the glorious filter sweep so oft heard in pop music using the Ladder filter, a sound not unlike the massive Moog MF-101.  The filtering can be static, envelope controlled (reactive to your picking style), LFO controlled, or swept using an expression pedal.

"VINYL"

Drop the needle on yesteryear.  This effect uses filtering techniques, skip noises, and a customized LFO pitch vibrato to simulate the sound of an aging but well-loved vinyl record.

"GLITCH"

In its default mode, the Glitch engine captures a bit of your signal and re-plays it at random rates and intervals. The Glitch is controlled by an envelope, so glitch effects will start whenever you stop playing.  When you start again, the looped sample shuts down and goes back into record mode.

"KEEP EXPLORING"

Pairing the Artifakt Lo-fi Elements with Source Audio’s completely reimagined and reengineered Neuro 3 software elevates an already great pedal to new heights. Access free, stage-ready presets from Neuro’s ever expanding library of factory and Neuro Community presets. Or explore and experiment with ALL of Artifakt's lo-fi elements with Neuro’s powerful editing tool.

Triple active looper with

– input buffer
– BLEND and LEVEL control for each channel
– a phase switch for each channel to avoid counterphases
– double output to split signal into two amps

The AirTrash is a pedal for guitar or bass that sounds like absolute garbage. I was breadboarding an idea and happened upon some absolutely sickening sounds, like really bad, but couldn’t stop playing it.  I spent a lot of time trying to refine and improve it, make it less noisy, more controllable etc.. but these changes always ended up sucking the fun right out of it so decided let it be the simple disgusting beast that it is.

It “works well” with guitar or bass and usually sounds best with the guitar or bass plugged straight into it (first in the pedal chain), didn’t do much for me at all on synths or drum machines.  It’s very sensitive to pick attack and input volume.

The blue knob controls the output level.  I could not come up with words to properly describe what the red and yellow knobs do so I created those little icons in an attempt to illustrate what words could not describe.

Pedal Secrets

Bass Distortion

Get down and dirty with the AfterShock Bass Distortion. Out of the box, this stereo pedal delivers three bass overdrive engines that span the gamut of low-end crunch, from smooth and natural overdrive to full-on fuzz attack. The Tube engine belts out a subtle, but powerful vintage tube overdrive with a smooth breakup and plenty of punch. Heavy creates an aggressive scooped sound with ample highs and thundering lows. The Fuzz engine offers intense germanium fuzz tones with loads of bottom and mucho grit. The Aftershock’s simple, yet powerful control panel provides the tools to finely sculpt the perfect bass tone. The Clean knob lets you to mix in just enough clean signal to maintain a rock-solid low-end without compromising the pedal’s SONIC GROWL. Adjust the onboard Tone control and find that thunderous sweet spot for any bass/amp combination.

By itself the AfterShock offers tremendous tonal range, but dig a little deeper and discover its hidden power and flexibility. Every pedal in the One Series line is compatible with the Neuro Desktop Editor and Mobile App (free downloads iOS, Android, Mac and Windows). Connect the AfterShock to the Neuro Editor and access its extended equalization capabilities, stereo routing options, as well as Source Audio’s free library of over 40 overdrive, fuzz, and distortion algorithms for bass AND guitar — each algorithm can be downloaded directly to the pedal. The Aftershock is also built on dual drive platforms providing the opportunity to simultaneously run two fuzz tones in parallel, stacked, or split in stereo. Plus, every One Series pedal is fully MIDI compatible when coupled with the Neuro Hub (formerly Soundblox Hub), providing the power to save up to 128 different presets.

Every Effectrode pedal includes a power supply. 

Should you desire another, Effectrode's High quality low-noise switched mode 12VDC at 1.5A wall-wart is compatible with all Effectrode pedals. Accepts 100V to 240VAC mains input and comes with different mains outlet adaptor plugs, so there is always a plug that fits the country that you are playing in.