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StewMac International House of Overdrive Pedal Kit, With Bare Enclosure
The IHOO is based on the Crowther Hot Cake, an overdrive that became available around 1976. It was one of the earliest hand-made boutique effects pedals available. The circuit was designed to be what is now referred to as a “transparent” overdrive. An effect that enhances the player's sound while keeping the original tone intact.
This circuit has undergone many changes since its inception, and we have further expanded on the design by returning to an earlier version most revered by players and removing the buffer, which resulted in a reworked circuit that is true bypass but still retains the charm of the design.
We also include the original LM741 IC chip found in the originals, as well as the TL071 that is found in later versions so you can experiment with which IC best suits your playing style.
Featuring presets by Jack White, this pedal is designed to offer intuitive control, precise filtering, and flexible expression pedal integration.
Eventide, in collaboration with Third Man Hardware announces Knife Drop, a commanding new effects pedal that merges aggressive octave fuzz with earth-shaking analog synth tones.
Born from the collaborative vision of two pioneering forces in music technology, Knife Drop opens a new chapter in effects processing. The pedal combines Eventide’s decades of digital audio mastery with Third Man Hardware’s innovative vision, resulting in a product that’s as intuitive as it is deep, as fresh as it is familiar.
"The Third Man crew have amazing product design instincts and we learned so much throughout our collaboration. It didn't feel like work, it felt like Rock 'n Roll.” —Russell Wedelich, Eventide Audio CTO
"Collaborating with Eventide on the Knife Drop has been an inspiring and exciting experience that expanded into some amazing sonic possibilities. We're so excited to get the Knife Drop into people's hands, to make their own sounds and feel the same excitement we had." — Dan Mancini, Third Man Hardware
Core Features:
- Rich blend of octave fuzz and analog synth capabilities
- Dual octave control with dedicated footswitch
- Precise filtering options with pre/post distortion routing
- Intuitive preset system with instant recall
- Stereo I/O with switchable guitar/line level inputs
- Flexible expression pedal integration for dynamic control
Intuitive Control
The Synth Mix knob allows players to blend between raw guitar signals and bold synthesized tones, while the Drive section delivers everything from a subtle boost to intense, biting distortion. The expressive filter section includes responsive envelope control, adjustable resonance, and switchable routing, putting total tonal flexibility firmly in the user’s hands.
Knife Drop features an LED ladder display for precise preset navigation and a secondary function layer that unveils additional sonic territory. The dual I/O configuration supports both mono and stereo operation, while the switchable input accommodates various signal levels for versatile applications, whether onstage or in the studio.
Knife Drop will be available for purchase on October 29, 2024, in the United States through Third Man Records’ website and internationally through Eventide's authorized distributors, with an MSRP of $299. Additionally, a limited-edition yellow model will be offered exclusively on Third Man Records' website for $333.
For more information, please visit eventide.com
Knife Drop Pedal: Presets Playthrough and Sound Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Times, tastes, and technology change, but if you’ve got a good thing going, maybe you don’t have to. And PS: Don’t touch Chris’s Vibrolux!
I’ve been playing guitar for 50 years—in Nashville and on the road—and generally feel like I’ve seen it all from the stage: the drunks, the crazies, the rowdies, and the regulars. But recently, I’ve been a little disturbed by something I haven’t seen: amps on the stages of many Lower Broadway clubs.
Recently, this happened to me.
It’s 10 a.m., and I show up for the first of my two daytime gigs. The sound engineer at the club tells me:
“Rule number one: No amps onstage.”
Me: “Can we just try it?”
Engineer: “No. And in-ear monitors only.”
Since I’m just here as a sub, I don’t argue. I don’t want to cause the bandleader grief or be a pain. I’m told “everybody does it this way now,” and since a professional needs to be adaptable, I adapt.
My next question: “Hey, can you turn off the TV by the stage?”
Engineer: “No, and take your amp off the stage.”
Me: “It’s unplugged.”
Engineer: “I don’t care. I don’t want anybody seeing an amp. I had a guy take a swing at me when I told him he couldn’t use his amp, so I can’t take chances.”
I have to admit, taking a swing at the soundman had crossed my mind, but he’s a biker-type with 75 pounds on me, and a generation younger. That doesn’t seem like a choice a professional should make. So, I take down my 1966 Fender Vibrolux Reverb and settle in for four hours of winging it through an iPad-controlled PA system and borrowed in-ear monitors, followed by another four-hour, no-break gig two blocks further down Broadway.
Really, I’m grateful, despite this embargo on amps. I’m working a lot. I get to play my Telecaster and crack jokes onstage. And I know this is a fickle town for musicians. One day you have nothing, and the next you’re playing the Opry, or in the studio, or flying to Europe.
When I got to Nashville in the early 2000s, Lower Broadway was no longer a red light district, but everybody wanted you to sound like Brent Mason. I didn’t. I played country guitar, but loved rockabilly and wore a pompadour. I also love and play blues, and Scotty Moore, James Burton, Merle Travis, and Chet Atkins are huge with me. Plus, I love Chuck Berry, T-Bone Walker, and Charlie Christian. So, initially it seemed like I didn’t fit into any of the niches bandleaders were looking for. Ultimately, I just wanted to sound like Les Paul and Link Wray. Is there anything wrong with that?
“I have to admit, taking a swing at the soundman had crossed my mind, but he’s a biker-type with 75 pounds on me, and a generation younger.”
Even though it was tough getting hired at first, I stuck to my guns. Eventually the phone started ringing, the work came in, and the phone is still ringing—or at least chiming text alerts. I’m having a good run and have played everywhere from the Opry to Lincoln Center. Plus, I love it here. When I arrived, it was already a pickers’ wonderland—humbling, terrifying, and inspiring. Legendary players would work at little clubs— and still do, although now the mass insanity of intoxicated tourists, bachelorette parties, pedal taverns, etc., is completely out of control. That said, there’s only a couple cities left in America—really, maybe just this one—where you have opportunities to work this frequently.
Ultimately, this “being myself” thing has paid off. Besides the gig I’ve had at Robert’s Western World for 20 years, I’ve backed up legends like Bo Diddley, Martha Reeves, Wanda Jackson (who also cut one of my tunes), and Jack Scott, to name a few. I’ve done sessions, plus lots of gigs with ’90s country stars. I’ve given thousands of lessons, made many European tours with my own bands and others, and I am the longtime guitarist for Carlene Carter (the daughter of June Carter Cash and June’s first husband, Carl Smith). I’m also the demo guy for my friend TV Jones. Say hi at his NAMM booth!
At Robert’s, there are no TVs—only music, beer, shots, and fried bologna sandwiches. Robert’s let me bring my love of surf guitar to the home of country music, anduse my own vintage gear. I can play a hollowbody with P-90s or a Gretsch, Telecaster, or Strat through my Vibrolux or Super Reverb and nobody complains. In fact, everybody loves it. And I get to sound like myself. Which is important, because eventually every musician comes to terms with the fact that they are only competing with themselves and not the world—and being allowed to find and use your own voice is crucial. So, you won’t get a profiler or iPad-controlled guitar app at a Chris Casello Trio show. We are always going to move air and, with it, some hearts, too.