Fashion Killer

    The Fashion Killer is a new approach of the BOSS HM-2 without the common design flaws we see in that pedal. It has a redesigned gain control for a smooth increase of distortion and a higher gain for more buzz. We extended the EQ section by two more bands for a more powerful tonal shaping. You will get total control of the Lows (70Hz), Low-Mids (600Hz) , High-Mids (1,2kHz) and the Highs (6kHz). The whole concept gives you a very versatile but intuitive distortion pedal.

    Arctic Fox

    The Arctic Fox is a swiss army knife. It contains three different circuits to cover a huge range of sounds. Made for Markus Bjarnasson, leader of Markus & The Diversion Sessions it has to cover different fields of application. The Fuzz-Sectin is based on our Fuzzly Bear. The Boost-Section is voiced to give a nice sparkle and some dirt, when cranked to max gain. With an active two band EQ section for lows and highs and a switch to choose where to put the EQ, either behind the boost or the fuzz the Arctic Fox is a perfect tool for a professional musicians.

    Fuzzly Bear Twin

    The Fuzzly Bear Twin is a full stereo pedal with separate Fuzzly Bears for each channel with independent gain controls. It has an LFO to modulate the gain of each channel. The positive modulates the left and the negative cycle the right channel. Choose between waveforms, control the LFO speed and the depth of the modulation, via expression pedal. It has a true bypass low-noise relay switching system. Originally designed for synthesizer, it also sounds awesome with guitar or bass.

    Buzz Bunny VS

    This pedal is total distortion/fuzz mayhem. The Buzz bunny is a thick,punchy low mid/bass pronouncing distortion killer. It comes with a three band EQ to dial in your tone. The Edgy Hedgy part gives you a nasty, gritty and crisp fuzz sound. Every pedal has its own input and output jacks to route your signal as you like. It is the perfect solution for a splitted guitar signal running with two independent dirt boxes.


    This glitchy creature will drown you in the octave ocean and let you swallow all analog suboctave and upper octave sound. It gives you nice and articulate first and second suboctaves and a fuzzy upper octave. Every octave has its own level control, even the clean signal. You can turn on/off the upper and the suboctave separately. You can also choose between either the first or the second suboctave or both together. We put in our Fuzzly Bear to create a wall of analog madness.

    The Jackalope

    A Fuzzly Bear circuit with a badass custom design! >>Ich hatte schon reichlich Kontakt zu Fuzz-Pedalen, von Bodentretern von der Stange, bis hin zu edlen Boutique Pedalen, auf meinem Brett haben sich schon zig Zerren getummelt, unter anderem auch der Fuzzly Bear von KMA-Machines und der kommt da so schnell auch nicht mehr weg. Denn gerade als Rhythmus Gitarrist hat man mit Zerren immer ein Problem: Akkorde!<< Check the whole review (GER) by Fabe Van Fuzz /Plainride

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    Dead Stag

    This one is made to doom! The Dead Stag delivers a thick and sludgy wall of distortion and fuzziness. We took a Red Army Overdrive - Muff circuit and change the clipping section for a more open and growling voice. It got a three-band Baxandall section for maximum flexibility. Now you can refine your tone, add or cut the lows, mids or highs. To give you a sharper sound flip the left switch to boost the highmids and the top end. If you need a more low gain drive change the impedance with the right switch. It's not just a one trick muff, but the best weapon for doom destruction

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    Scotty beam me up! The Spacedrive is a hommage to a low gain overdrive pedal, called "Bluesbreaker" from the big "M". We kicked off the tone filter and raised the gain. The passive tone filter is replaced with an active 2-band Baxandall EQ. Cut or boost the lows or highs for a perfect transparent crunchy overdrive sound. Additionally it has a MOSFET based boost circuit to reach lead territory or to push your amp into saturation. The artwork is made by the customer himself and printed by us.



    Our attempt of a dual channel looper. The looper works either passive or active. Engage the active mode and get back your clean signal via the MIX knob and create a tons of new soundscapes. To guarantee a in-phase signal mixing it has a phase inverter to avoid cancelation. You can also use it as a A/B channel switcher.



    This Pedal is more an utility than a special effect. It contains an active 3-band Baxandall-type EQ. For those people who do not like parametric EQs or need more than a passive high- or low-pass filter the Elements is the perfect way to go. With the possibility to cut or boost the signal by +/- 15dB you can get every tone you want from an overdrive/distortion/fuzz pedal. For example lower the bass when it becomes to muddy, turn up the mids to get some extra punch.



    Thick, splattery, chunky, organic, synthetic. To much words to describe the sound. Take a Tonebender MK2 type circuit and lift it up and overhaule. Add INPUT control to define the strength of the incoming signal and the bass-content, take one toggle to cut off fuzzy, sizzly highs. Take another one to define the bass content on the outcoming signal and here it is: the TV-X Germanium Fuzz.

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    Steam Machine

    Lots of powerful and loud bassamps are heavy as hell. Ampeg SVT or V4B, Fender Bassman or Sunn'S and so on! Toni Hirsch from the band Bed Asses decided against a heavy bass amp but would not go without that warm and dirty tube sound. Instead he ordered a custom tube driven bass preamp. To deal with the eventually loss of low end, the pedal has a clean blend with a controlable gain to match the signals. set the gain, get back some of the cleans and enjoy the tone.


    Astrospurt V1

    True analog phase shifting based on the well known 4-Stage JFET design. We pushed things further. Define the depth of modulation, turn down the output signal or set up how much your clean signal is mixed with the phase shifted signal. Things get crazy with the switchable and controlable feedback loop.

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    A pedal to cover a wide range of soundscapes with a lot of options to tailor the tone. The heart of the pedal is a low to high gain overdrive/distortion circuit with switchable either soft or hard clipping. The second part is a MOSFET based booster to give you an over the top lead sound. Made for Michael Kretzer from the Band Souljam and tones of other musical projects.


    BLD #1

    The BLD#1 made for Brian Ladwig of the band Amplified Backdoor Creatures is a very organic sounding drive to fuzz pedal. Based on the Screwdriver from Skreddy Pedals, we changed the output stage to tame the gain and alter the frequency response. At the end we got a very nice, raunchy and gritty drive pedal to turn a clean amp into a dirty rock machine.



    Take a germanium style treble booster add an input range control, a high cut and you got the essentials of the G.E.Eye overdrive. With the RANGE control is it possible to blend between two different input capacitors. That gives you the capability of a pure treble booster and a fullrange overdrive. To kill the hiss on full gain setting turn up the VOICE control.


    Saturn Boost

    The Dallas Rangemaster Treble Booster was one of the first guitar effects. Countless guitar players used that booster to push their amps harder and let them break up nicely. The Saturn Booster was manufactured for Matt Casciani from Electric Taurus. Beside the BOOST control it has a switchable output capacitor. It goes from lo-fi to big chunky bass.

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    Son of Horus

    The Son of Horus was one of the first pedals we made. It was the basic circuit for the BLD#1. The difference are a higher gain range and more low end on tap. It gives you a wonderful harmonic content of overdriven sound. With a medium gain setting you would not expect that you hear "just" a pedal rather then a crunchy marshall tube amp.



    Here is the beginning of our story. The Phasopia was KMA's first custom pedal that leaves the workshop. Ordered by Franz Kluge from the band Trecker and designed to fits his needs. It is a classic 4-Stage JFET Allpass-Filter design with a mode switch to change the response of the filter notches, SPEED and DEPTH controls to tune in the modulation and a simple volume control to fit the output signal.