Paul Masvidal Signature Chorus Layaway Plan

Pro Tone Pedals is extremely proud to present the Paul Masvidal Signature Chorus Pedal.

Paul’s signature chorus was designed to help you recreate the lush tones found on Cynic albums such as Traced in Air or the seminal Focus.

The pedal is an all analogue design built around new old stock editions of the long out of production MN3007 BBD IC’s which provide a richer fuller sound than that of modern chip-sets.

The Paul Masvidal Signature Chorus includes the following features:

  • Mix, Speed and Depth controls
  • Operates on a standard 9 volt negative tip BOSS style adapter (not included)
  • True Hardwire Bypass with grounded input for noise free operation
  • Stomp switch built to withstand years of hard stomping shows
  • Durable aluminum housing
  • Super-Bright LED for easy onstage identification
  • Proudly built by hand in the USA
  • As these are hand crafted, the lead time is 6 weeks


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Every 1 week (x 3) $70.00 USD
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Misha Mansoor Variable Attack Overdrive Layaway Plan

THE Best Overdrive Pedal for djent

Periphery guitarist, Misha Mansoor, is on a never ending hunt for amazing tone… in the latest edition of his signature overdrive- The Variable Attack Overdrive- Bulb and Pro Tone Pedals have taken this hunt to new extremes.

Whats changed:

The addition of the Attack Frequency switch is the star of the show. This 6 way switch, combined with the Attack foot switch,  gives you a total of 7 different settings to dial in the ‘voice’ of your overdrive by offering you unprecedented control over the bass frequencies being allowed to pass into the pedal. This is a truly unique feature that we’ve not seen on any overdrive pedal available today. The flexibility of the Frequency switch can not be overstated: You can dial in the classic Dead Horse flat response, the traditional mid hump of the TS line, a more bass friendly curve for the 7 & 8 string players, or even an extreme bass cut beyond that found on the Attack Overdrive

Misha’s Variable Attack Overdrive sees also the removal of the DIODE selection switch- something that doesn’t come into play for the vast majority of modern metal and djent guitarists.

Features:

  • Gain, Tone and Volume controls
  • Silver aluminum knurled knobs
  • Attack Mid Accentuation Foot Switch
  • Variable Attack Frequency 6-way switch allowing you to control the bass frequencies cut off point
  • Operates on a standard 9 volt (negative tip) BOSS style adapter
  • True Hardwire Bypass with grounded input for noise free operation
  • Stomp switches built to withstand years of hard stomping shows
  • Durable powder coated aluminum housing
  • Super-Bright LEDs for easy onstage identification
  • Proudly human-crafted in the U.S.A.

¹: 24 hours shipping pertains to orders placed during normal US business hours Monday-Thursday.


Weekly
Number of payments 4
Start payments At checkout
Due* Amount
At checkout $80.00 USD
Every 1 week (x 3) $80.00 USD
Monthly
Number of payments 4
Start payments At checkout
Due* Amount
At checkout $80.00 USD
Every 1 month (x 3) $80.00 USD
* We calculate payments from the date of checkout.
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Dead Horse MKIII Overdrive Layaway Plan

In 2007 Dead Horse Overdrive was our entry into the Tube Screamer clone space. We modified the classic TS design to our liking,  gave it a tongue in cheek name, and its been such a huge success we’re on the 3rd iteration.

Introducing the Dead Horse MKIII

What’s new:

The addition of the Bass Frequency selection switch is a game changer. This 6 way switch, combined with the Bass foot switch,  gives you a total of 7 different settings to dial in the ‘voice’ of your overdrive by offering you unprecedented control over the bass frequencies being allowed to pass into the pedal. This unique feature that we’ve not seen on any overdrive pedal available today. The flexibility of the Bass Frequency switch can not be overstated: You can dial in the classic Dead Horse response, the traditional mid hump of the TS line, a more bass friendly curve for the 7 & 8 string players, or even the extreme bass cut found on our Attack Overdrive.

The 1st question that comes to mind- why a switch, why not a sweeping knob? Well… to perform a clean sweep would require several more components in the audio signal which, ultimately, detracts from the tone of the pedal in a significant way. Think of all the TS clones that added active EQs that have come and gone from the market- there is a reason they go- the active EQ destroys the tonal character you’ve come to know and respect.

To cure this, we have 7 frequency roll-off settings that require almost zero additional components to gum up your tone.

Another change in the Dead Horse MKII sees the removal of the DIODE switch. The vast majority of Dead Horse users never used it as a source of distortion- so the added flexibility the DIODE switch offered was purely academic.

Features:

  • Gain, Tone and Volume controls
  • Bass Frequency Filter Foot Switch
  • Variable Bass Frequency 6-way switch allowing you to control the bass frequencies cut off point
  • Operates on a standard 9 volt (negative tip) BOSS style adapter
  • Hardwired True Bypass with grounded input for noise free operation
  • Stomp switches built to withstand years of hard stomping shows
  • Durable aluminum housing
  • Super-Bright LEDs for easy onstage identification
  • Proudly hand-crafted in he U.S.A.

Weekly
Number of payments 4
Start payments
Due* Amount
At checkout $80.00 USD
Every 1 week (x 3) $80.00 USD
Monthly
Number of payments 4
Start payments
Due* Amount
At checkout $80.00 USD
Every 1 month (x 3) $80.00 USD
* We calculate payments from the date of checkout.
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Mark Holcomb Signature Delay Pedal Layaway Plan

Mark Holcomb’s signature delay pedal was designed to be an ambient style delay, like your favorite vintage tape echo… with gig-ready durability to last you decades without a $1000 price tag.

Features:

  • The Delay control offers a sweep of delay times ranging from 25 milliseconds to 450 milliseconds.
  • Repeat control runs from a single regeneration to infinite feedback-The longer settings introduces some slight note crunching similar to the vintage tape delay systems from decades long gone by.
  • Mix sets the level of delayed signal mixed with straight guitar tone.

The Haunted Delay was intentionally designed to work well with modern high gain amps as well as classics, offering the widest range of usability no matter what style you play.

I’m extremely happy with how unique and versatile this pedal turned out, and it’s been an inspiration merely jamming on it as of late. The intention here was to create something truly trippy – a pedal versatile enough to handle the soundscape-y material I’m drawn to, while at the same time having a very streamlined interface, making it easy to use as a songwriting tool – which is it’s main use for me.
-Mark Holcomb

Additional features include:

  • True Hardwire Bypass for noise free operation
  • Stomp switch built to withstand years of hard stomping shows
  • Durable aluminum housing
  • Operates on a standard 9 volt negative tip BOSS style adapter
  • Proudly built by hand in the USA

Weekly
Number of payments 4
Start payments At checkout
Due* Amount
At checkout $60.00 USD
Every 1 week (x 3) $60.00 USD
Total $240.00 USD
Monthly
Number of payments 4
Start payments At checkout
Due* Amount
At checkout $60.00 USD
Every 1 month (x 3) $60.00 USD
Total $240.00 USD
* We calculate payments from the date of checkout.
Sign up for

Quit Bitching & Start Adapting Part 2

quit complainingIn my previous post I mapped out what exactly this meme means to me, and how I think we musicians miss some of the finer points.

This time I want to take an overhead look at some of the major problems and how we can start addressing them.

Let’s survey the surroundings and talk through a couple possible plans.

Albums don’t sell & record labels are vampires. Obviously there are a million other nuanced issues but we can all agree that these are the top 2 concerns for any musician that wants to be a career musician.

Problem: Albums don’t sell

Adaptation: Sell something else. The music is simply your introduction to an individual. They didn’t buy the album so sell them a concert ticket, a poster, a VIP experience, or a tee shirt. Make those shirts in all sizes, make multiple designs… limited editions… do whatever it takes, within reason, to appeal to them in a way that encourages them to support you.

Problem: Labels are vampires

Adaptation: DIY. Simple as that. You will run into more hurdles than you’ll be comfortable with, but you can release an album on your own. Labels bring an invaluable infrastructure you’ll most certainly not be able to match, but if you put a few friends and family members in charge of extremely specific job roles and you should be able to limp by. There are countless books on this topic, so I won’t bore you.

 

In my next post we’ll talk about how an individual can build and cultivate a following that you’ll need in place in order to make any of this possible.

Chorus prototyping

We regularly get requests from high level guys looking to get a chorus with more control and an ‘eerie’ voice. The classic TC Electronics chorus pedal possessed a sonic quality that so many players have been searching for. So we got to work…

After 2 years of research and development we’re ready to show off just how close we’re getting to a true classic.

Some refinements are still in work and the overall look will change slightly, but this should give you a clear indication of where its going.

Thanks for reading-

Dennis

Quit Bitching & Start Adapting Part 1

quit complainingEvery time I post this image I get a ton of comments throughout the social media realm… The responses are split 3 ways- 1 camp wholeheartedly agrees, 1 camp puts on their rebellious act proclaiming how they’re going to change the industry… and the 3rd camp spits venom at me for perpetuating and propping up an industry collapsing while picking the pockets of musicians as it falls.

Let’s unpack the later 2 responses and see if I can help you understand my point so you move on to the next stage of your career.

Before we begin I’m going to establish the audience- if you’re certain you’re destined for fame and international super-stardom, this is not for you. If you’re ‘all about the art’ this isn’t for you. BUT If you’re ready to pivot your artistry and walk the fine line between art and commerce, this is for you.

We should change the industry-

Not going to happen. Household names failed at changing the industry from the inside- we’ve got 40 years of history (that I can think of off the top of my head) that proves this.

Tom Petty couldn’t stop labels from over-pricing their albums, Metallica couldn’t stop MP3s and file sharing… NIN, Radiohead, Prince, and U2 all barely made a blip on the radar of history when they released free or pay-what-you-want albums. So, tell me how you and your 94 Facebook followers are going to change the industry.

The music industry is massive, with more moving parts than a freshly smashed anthill. Industry change will have to come from above. The label leaders are going to have to decide on the new model, but they aren’t in any hurry to do that, Their ship is sinking and they are either too lazy, too stupid or too short-term greedy to do anything about it. So we are left to either become one of those ants scrambling, or to carve out our own path.

You’re just perpetuating the enslavement of artists (actual comment)-

So often we musicians (yes, Kirk… I am a guitarist) have a hard time seeing gray. We live for our art, and in doing so, we embrace the extremes of black and white… c’mon, that’s where the ‘feels’ are, right?

The majority of artists see my call to action ‘quit bitching and start adapting’ as either “we need a revolution”, or “we need to give up and be a part of the problem”. This is where our creative minds fail us. There is gray area here- and it’s huge. In this gray area is the future of the music industry.

Adaptation does not imply acceptance. Nor does it mean revolt. It simply means surveying your surroundings, developing a plan to deal with the harsh environment, and thriving despite whats happening around you.

This should clear up some of the confusion regarding my sentiment. In the next post we’ll start looking at the the top problems and identify an adaptation or 2.

Till next time…

Thanks for reading… now get to work!

Dennis

Sam Bell and the Dead Horse MKIII

Sam Bell

Sam Bell has been using Pro Tone’s Dead Horse for well over a year now… and with the latest edition of the Dead Horse it only makes sense that he jump on the tonal range offered by the Dead Horse MKIII.

Technical, tasty, melodic, fast… these are just a few of the thoughts that will go through your head when you listen to Sams solo work, lessons at Lick Library, and his band Mask Of Judas.

Here, Sam is using the Dead Horse MKIII Overdrive pedal on all of the guitar tracks.

Learn more about Sam

Sam Bell began playing guitar at age 4, and since then has explored everything from funky blues to screaming metal on an 8-string. A member of tech metal band Mask of Judas, he is also currently writing his own solo instrumental album. For more information, visitwww.sambellguitar.com and www.youtube.com/sambellguitar

Dead Horse MKIII Demo

Learn more about the pedal Sam uses