Ghirashaker

Just a simple "shaker box." The contact mic is permanently mounted to the top of a tin in which you can open to use separately, or to put whatever you want inside. The soundclip is with no effects, and then with a ton of distortion. You can plug this into anything that will take a quarter inch jack (i.e. guitar pedals, mixers, amps, etc.).

SOLD

Orange Shit Ball

This was a Boss DS-1 I bent a while back but then I busted one of the toggle switches and stopped using it. I'm glad I did, because the position in which the toggle was in when it got busted was what really made this pedal awesome.

The sound clip is of the pedal in a mixer feedback loop. I am messing with the EQ on the mixer as well as the knobs and the one toggle on the pedal. It does some crazy super high pitch soaring frequencies as well as crunchy and glitchy madness. Pretty harsh and all over the place.

I am selling this one cheap because there is a broken toggle switch on the right of the pedal that does not work. I pried out the knob on it so it's not in your way. It was also heavily used by me for a while, so that's another reason to sell it cheap.

The sound clip is awesome, though, so don't judge it by it's looks or wear and tear.

SOLD

Pastrauma

Just finished this little gem. Works fine in and outside a feedback loop. It sounds best and has more range in a loop, however. I strongly suggest this pedal be used in a feedback loop with a strong and manipulatable single such as a headphone feedback loop in a mixer so that you can control the headphone level as well as the EQ on the mixer channel. Run in a loop with an EQ pedal is fine, too. The reason I suggest having it in a loop with an EQ is because you can get a lot more out of this pedal working with sending it high frequencies from the EQ, and minimal amounts of signal using the volume of the EQ pedal (or the headphones level on a mixer). Otherwise, running low frequencies and super hot signals will produce not much more than uninteresting clicks.

The first of the sound clip is just the pedal on it's own. No feedback loop and just a dead cord plugged into the input. The second portion is the pedal in a feedback loop using a mixer. I am manipulating the two toggle switches as well as the added potentiometer along with the headphone output level and the EQ in the channel the pedal is running into.

If used how I have instructed, you can get a huge variety of harsh sounds out of the pedal. There are some nice sweet spots with the pot that you can find, too. The pots the pedal came with also work. The overdrive level knob will do all sorts of things. The volume knob works as a volume but also feeds the circuit more signal as you turn it up which will increase the pitch of squeals and make the pedal act crazier the higher it is.

SOLD

Pain Braiser

I think I've spent longer on this pedal than I have any of my other ones. I figured a phaser, like most, would be easy as hell to bend. I knew I'd be able to find a run that would make the cycle of the phase shifting feedback like crazy. I was wrong. This was a two day project just experimenting and searching. In fact, I think I fried a chip so I had to do extra searching and combinations of runs to give you control of the mods I did. There are nearly 8 bends in this pedal and I am positive I got every possible one worthwhile. It's a pretty dynamic pedal. The pot gives you a lot of quiet to loud sounds. It has a real sweet spot and search for it. The red button kills the signal no matter if the other mods are engaged or not. If you tap it quick enough, the power will run back into the pedal and the way the cycle of the shifting comes back up slowly is pretty radical. Clicks and rumbles, unique oscillations, and a few settings give you silence. This is cool when you run the pedal into lots of distortion because the hiss of the silence will be amplified tenfold so you will get a nice wall of static. Or, use it without distortion and enjoy it's touchiness. Works well outside of a feedback loop as well as in. Obviously outside a feedback loop is where it will behave more dynamically.

The sound sample was recorded in a feedback loop with a delay pedal, and then run into a ton of distortion. The delay was not engaged the whole time. 

SOLD

Bit Swash

This thing is freaking insane. I had no idea I was going to be able to do what I did with this. This thing sounds like a bit crusher running into a noise swash at times. Shrieks real high but comes crashing down into a bit-garbled mess. There are some nice dynamic functions about this pedal outside of a feedback loop, which is how it works best, I think.

SOLD

Highly Seasoned Smoked Beef

Reasons why this one is awesome:

• All of the switches are momentary buttons. 
• All of the bends are active UNLESS the buttons are pressed.
• All bends are on the top circuit board. I didn't even touch the bottom one to get the sounds achieved here.
• This one actually works outside of a feedback loop to get some tame sounds, but depending on the feedback loop it's in, all sorts of crazy sounds can be acheived.

Sample. (in a no-input mixer feedback loop )
Sample. (in a feedback loop with an ibanez de-7 delay)

SOLD

Three Track Mind

This one is quite interesting as well as minimal. It took me forever to find adequate bends. I ended up doing two internal runs that you can't switch one and off just to get something going inside the pedal without it having to have a sound source. Two of the momentary buttons come off the same contact, and the third one comes off the Oct 2 knob. These momentary buttons all do very distinct things. One will generate a loud tone, another will emit a strange and fast beeping, and another will generate a quiet, low-pitch rumble. Combining the buttons is the fun part, and doing that while working with the knobs. You won't get a variety out of this, but a few very distinct sounds that don't seem to relate to each other at all. Definitely a unique unit. I haven't tried this with a sound source plugged into the input nor have I tried it in a feedback loop, but my guess is that it can get extremely nuts when done considering it does such unique things without an input at all.

The sound sample plays once, and then again with a heavy distortion. 

SOLD

Peacock II

This pedal was originally bent by a friend of mine. I broke two of the toggles, so I took it completely apart, wired in 4 new toggles to completely different contacts. However, the pot he added is still wired the same. It was a reverb unit, so there is a lot of delay and looping capabilities, but also some drony tones and all sorts of wacky noise swash-esque sounds. Two of the toggles are 3-ways and the other two are 2-ways. The unit does not need a source signal but it can use one. Works well in a feedback loop as well, but it's not as dynamic that way.

NOT FOR SALE.

Mini Mouse

This thing is a squeaking MACHINE. Two additional toggles, two additional potentiometers, and one momentary button. The button sends the pedal into high pitch heaven. The left pot is sort of like a starve knob. All the way down, the pedal shuts off. The other pot and the toggles alter the sound in ways I can't exactly explain. The sound demo should give you a good idea of what you can get out of it. I haven't tried running an instrument or sound through the pedal, but the input is wired to the output to create a feedback loop. There is a busted-off input jack plugged into the unit that can stay there so you can use it alone. However, try running something through it with an extremely hot signal. Might produce cool results. Better yet, put it in a feedback loop and I guarantee it'll go nuts. Especially in a mixer feedback loop where you can alter the EQ.

This is one of my favorite bends I've ever done. It's a very specific sounding pedal whereas a lot of my other stuff has been pretty diverse. This is to be used to create dynamic yet insane screeching and squeaks. Used to be an old DOD Chorus.

SOLD.

Chorus Of Vomit

Here is my latest creation. It's been a while. I won't explain anything in this description because it's all in the video. Sorry for the sound quality. After I'm done talking, crank the volume. My camera mic doesn't compress.

Here is an additional sound sample that is much less boring and sounds better.

SOLD

Hot Chihuahua

Here we have somewhat of a tame little beast. I didn't anticipate finding bends in this thing that would get too crazy considering it was merely an octave pedal. When using in a headphone mixer feedback loop, I found a lot of rumbly clicks which is a nice change from the usual wacky shit I come up with. However, when EQ-ing the mixer channel to have a lot of treble and not so many lows, it can get pretty glitchy and nuts. However, this thing is really good with steady tones, and rhythmic clicking and rumbling. A nice tool for those who want intermittent noise-making rather than constant, chaotic madness.

Sample.

SOLD.

Halle Berry's Skin

Originally this was a Dan Electro Black Coffee. In a mixer feedback loop, which is what the sample was recorded in, the pedal is fairly versatile. Taking the bass down on the pedal can generate some really screeching textures. Using only bass will give you some nasty rumbles. EQs on pedals when in feedback loops are always very effective things. There is a momentary button and a toggle that has been added to this pedal. The toggle makes the power act kind of funny. Sometimes it will make the pedal shut off, but the pedal can still heavily manipulate sound when off, so it can work to your advantage. Using this in a regular signal chain (a guitar, microphone, etc.) rather than in a feedback loop will give you less than desirable results because of that power issue. The pedal needs the extremely hot feedback signal to really work. The on/off button on the pedal, when held down, acts as another momentary button as well.

Sample.

SOLD.

Noisy Coconut

Here is another shaker box. This one is bigger than my last one which gives it a different tone and ring. The top is completely removable so that you can use it against other objects as if the whole top of the unit was one big contact mic. This one is being sold empty so that you can fill it with whatever you want, if anything at all. The first part of the sound clip is the unit being shaken filled with nuts and bolts with a ton of distortion. If the unit is filled up a lot more, there will be less ringing and feedback. The rest of the clip is the unit being shaken, scraped or turned in different directions with several objects inside it. So many possibilities!

Sound sample.

SOLD.

Bubble Trouble

My first "shaker box!" This little tin bubble gum lunch box is equipped with a super sturdy contact mic permanently attached to the top of it. It is filled with random nuts, bolts, screws, nails and other things. I made it so that you can open it any time and fill it with whatever you please. It is good for creating harsh noise walls when shaking rapidly, but putting anything inside of it, such as marbles or oddly shaped things will give you awesome sounds if you shake and move it in different ways. I've also attached a small chain to the outside of it to play with. Also, because of the drilling of the screws, the top of the unit is a tad bit warped. Pushing it in and out will create a little popping sound, which is just one of the other many things that contribute to the sounds you can get from this thing.

The cord is super long, over 15 feet. This way you can run around like a maniac with the unit. Another reason for the long cord is that, with a lot of gain, this unit will feedback like crazy, so moving around the room you are performing or recording in (if you are amplified through a PA or an amp), will change the feedback tones along with the sound of the things moving around inside the unit. There are so many possibilities with these little things. I plan on building a lot more in the future.

The sound clip is just the unit run through some light overdrive. Most of the incredibly distorted sounds are coming from the fact that I am overdriving the mixer so heavily.

Sound clip.

SOLD

Mady Adams

Here is a circuit bent Boss Overdrive/Distortion. This is a weird one. It reacts independently of an input if the first toggle is all the way down. If it is up, it still makes some subtle weird tones and rumbles, but sending a signal through it, especially when in a feedback loop, get's interesting. The color and level knobs do some hard-to-explain things. There is a momentary button on the back of the unit that seems to octave-up whatever the tone the pedal is creating at the time. 

Sample.

SOLD.