GMF Music Unveils Four New Bullseye Pedals

Each pedal is true bypass, features flexible inputs and outputs, and is housed in a small footprint.

West Des Moines, IA (October 5, 2015) -- GMF Music introduces four guitar pedals that take tone to a whole new level.

Bullseye DS‐1 (Distortion) The DS1 is a compact distortion pedal with plenty of dynamic range and great harmonic overtones.  Tone, Level and Drive knobs ensure plenty of control and gain to suit any kind of musical style while maintaining an extremely open and clear sound that never gets muddy. Proprietary circuits for gain and tone dial in an unlimited variety of great guitar tones.  

Bullseye RV‐1 (Reverb) This is an analog reverb pedal for use with electric or acoustic guitars, electronic keyboards and more. Two control knobs quickly adjust Dwell, (decay of the reverb) and the amount of REVERB mixed with dry signal.  

Bullseye CH‐1 (Chorus) This is an analog chorus pedal for use with electric or acoustic guitars, electronic keyboards and more. Three control knobs quickly adjust the speed of the chorus effect, the depth and overall level of the effected sound.   

Bullseye DL‐1 (Delay) This is an analog delay pedal that creates echo effects, from short slap‐back to longer repeating echoes. Use it on electric or acoustic guitars, electronic keyboards and more. Three control knobs quickly adjust the speed of the echo repeats, the number of echoes and overall level (Mix) of the effected sound.   

All Bullseye pedals are made with heavy‐duty, fully shielded steel cases for low noise and maximum durability


  • Sound quality - First-class guitar tone right out of the box. (Fully shielded for low noise)
  • True Bypass - Maximum tonal integrity.
  • Flexible inputs & outputs - Accepts instrument as well as line level/FX Loop signals.
  • Easy of use – Can be powered with 9V battery or 9V adapter
  • Compact and cool - A small footprint makes it fit on any board, and the sheer look guarantees that it will turn some heads once it sits there!

Street Prices - $79 (Distortion & Delay) - $89 (Chorus) - $159 (Reverb)

For more information:
GMF Music

A few simple chords is all it takes.



  • Learn to play a 12-bar blues, in three different keys, using one shape.
  • Study an assortment of strumming and picking patterns.
  • Gain a basic understanding of the 12-bar blues form.
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As usual, there is more to this lesson than the title implies. We will be working with one chord shape at a time, but over the course of the lesson we’ll study three different shapes. The final example in this lesson incorporates all three shapes to demonstrate how a few basic ideas can provide us with infinite possibilities.

It is important to know that for every chord name in this lesson there are countless shapes—also known as fingerings or voicings—available. For this lesson, I chose what I consider to be the most practical and flexible shapes.

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My years-long search for the “right” Bigsby-outfitted box finally paid off. Now how do I make this sumbitch work in my band?

Considering the amount of time I’ve spent (here and elsewhere) talking about and lusting after Gretsch hollowbody guitars, it’s taken me a remarkably long time to end up with a big Bigsby-outfitted box I truly love. High-end Gretsches are pricey enough that, for a long time, I just couldn’t swing it. Years ago I had an Electromatic for a while, and it looked and played lovely, but didn’t have the open, blooming acoustic resonance I hoped for. A while later, I reviewed the stellar Players Edition Broadkaster semi-hollow, and it was so great in so many ways that I set my sights on it, eventually got one, and adore it to this day. Yet the full-hollowbody lust remained.

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