Peterson Tuners and Metronomes

KMA Machines

Hand-made Pedals from Berlin, Germany

Stunningly creative creations

Looking at the KMA Machines pedal line-up, it’s hard to believe that this Berlin-based boutique pedal brand is only just a few years old.

Sporting undoubtedly some of the best-looking graphics and best-sounding circuits out there, this young brand has been determined to make an impact on the scene from day one and boy has their hard work paid off!  With his heart and soul well-rooted in the classic tones of yesteryear, but with a mind firmly fixated on the present and future needs of musicians, founder Enrico Preuß has been building some of the world’s most stunning pedals since 2013. When you see them, you immediately want to pick them up. Once you hear them though, you’ll never want to let go of them again!

From the legendarilly wild and sawing high-gain distortion of the Wurm 2, KMA’s latest evolution of this classic circuit, to the tamed terror of the GUARDIAN of the WURM, to the classic ripping fuzz tones of the Minos, and all the way to the beautiful swirling phaser sounds of the Astrospurt, the incredibly cool synthy octaves of the Moai Maea to the uniquely flexible Tyler Deluxe – The Advanced Frequency Splitterthese pedals are true and thoroughbred works of art and not to forget the insanely brilliant Horizont Stereo Phaser, KMA have added sublime units to their lineup directly from the future! 

Looking for a transparent overdrive? Well search no more as  Logan is probably the world’s most open and super touch-responsive overdrive pedal. Made to transcend the well-known boundaries of overdrive, Logan will deliver the driven goods and more!

Holding three different Gain Modes, a pre- or post-EQ Clean Blend, active Bass and Treble controls, a foot-switchable and expression-controllable parametric Mid-EQ as well as a switchable top-boost for even more raspy, grinding bite, CHIEF DISRUPTOR is the most flexible, beautifully balanced and LOUDEST muff-style pedal you’ll ever hear!

While with Cirrus Reverb and Delay, KMA’s very popular special creation, is an inspiring Delay and Reverb pedal. Multiple and extensive independent modulation features all allow you to drift away on endless sonic cloudscapes.

Hand-made from start to finish and with an unwavering passion for perfection, each and every pedal is designed using custom double- sided PCBs, assembled, silk-screened, tested and numbered by hand in their own workshop, all of which guarantees high-quality, while the use of a virtually indestructible powder-coated die-cast enclosure ensures maximum durability.

KMA Machines truly stands out as one of the most exciting new brands in the business, now available worldwide via Audio Distribution Group.

Online Dealers in the US

or find your local dealer – here

Latest KMA News

KMA Machines launches FUZZLY BEAR 2 - Silicon Fuzz

KMA Machines launches FUZZLY BEAR 2 – Silicon Fuzz

FUZZLY BEAR 2 Silicon Fuzz Unleash the Beast, again In 2013, KMA Machines’ first ever production pedal was inspired by an old, obscure and highly underrated fuzz box from the ...
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QEUEEQUEG 2

Reawaken the Depths Below

“Releasing the harpoon from his grasp, Queequeg gazed into the depths of the bleak waters that stretched down endlessly beneath him. Mindful to the aim of his adversary, the giant whale plunged further and further into the darkness of the abyss. This subaqueous dominion would forever be his rightful place. QUEEQUEG 2 – look deep down and believe.”

KMA Machines released the original QUEEQUEG in 2016. The pedal was our take on how simple and effective an analog monophonic suboctave device could be.

Time doesn’t stand still and so with QUEEQUEG 2, KMA’s aim was not only to update the device with a more striking appearance, but also add an additional sub-octave and the ability to switch and mix between them. With a small footprint, the updated pedal also has top mounted jacks and relay based soft switching for the modern age. QUEEQUEG 2’s super, easy-to-use and ultra-fast tracking sub-octaver works equally well on guitar, bass and synth, so these classic earth-shakingly awesome tones can find their way to any setup out there.

Main Features

  • Analog sub-octave pedal – from subtle tone thickening, to huge faux bass-synth sounds
  • Two ultra-fast tracking analog mono sub-octaves
  • Offers precise octave shifted single note lines or glitchy, random chords
  • Easy-to-use one knob MIX design – controls clean/sub-octave blend
  • Three switchable sub-octave settings
    • -I: for synthy sub-octave sounds
    • -II: for truly earth-shattering lows
    • -I/-II: for a massive wall of sound sub tones
  • Multi-coloured LED – shows which mode is active at a glance
  • Compact enclosure with top-mounted jacks – will fit into any setup
  • True Bypass silent relay-based soft switching
  • Handmade in Berlin, Germany
  • Power by opt. 9 V PSU
            (9 V DC, centre -, 2.1 mm, 60 mA max. current draw)

 

WURM 2

Refine the Terror from Below

Slithering across the ravaged landscape, the behemoth advances. With each thrust, the beast drags thousands of years of grinding grief and mauling malice that’s ready to be unleashed upon the world yet again. There is no escape. You either stand in its path and get torn asunder or join the legendary beast, receiving the blessing of its dark distorted powers and sawing sonic screams. The choice is easy. All hail the mighty WURM!

With our WURM Distortion pedal, KMA Machines brought you a highly regarded, yet unabashed sonic love letter to the legendary filthy ‘doom and gloom’ distortion sound of the original Boss HM2 MIJ pedal, taking it much further and pushing the envelope of how destructive it could be. Adorned in an iconic black and orange colour-scheme reminiscent of its inspiration, WURM 2 takes the essential ingredients of KMA’s now classic pedal, adding the ability to switch between EQ settings right on the front of the pedal. In addition, we squeezed it into a smaller and more pedal board friendly enclosure with top mounted jacks, improved the electronics and enhanced it with relay-based silent switching, all helping to make WURM 2 a more flexible metal-distortion pedal than ever before.

Main Features

  • High-Gain Metal Distortion pedal
  • Modern take of the classic and now sought-after original Boss HM2 MIJ
  • Wide range of metal-distortion tones – from chainsaw, to plain evil and gritty
  • Highly configurable 4-band active EQ
  • 3 distinct types of EQ frequency controls to tailor your tone – now accessible on the front
  • Compact enclosure with top-mounted jacks – will fit into any setup
  • True Bypass, with silent relay-based soft switching
  • Handmade in Berlin, Germany
  • Powered by opt. 9 V PSU
            (9 V DC, centre -, 2.1 mm, 50 mA current draw)

Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it’s absolutely on the money. From its beyond brutal and grinding distortion tones, bands like Dismember and Entombed birthed Swedish chainsaw metal. While WURM 2 absolutely nails that death-metal sound, its thick walls of gain and sustain is not all about that genre – the pedal is also adept for so many other styles, from Shoegaze to Prog Rock. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and more have all made their mark with this style of distortion.

For the WURM pedal, KMA developed their own EQ stack and added an internal EQ STYLE switch to help you carve out additional tonal variations. In WURM 2, this is now on the front of the pedal to make it easier to access and for even more tonal options on-the-fly. Selecting HM-II mode will get you that classic ‘chainsaw’ High-Mids character. However, in KMA mode the EQ is a little more tonally balanced, less peaky and a bit wider in response. If balanced and less peaky sounds too boring for you, select BOTH to fatten and double up the tone stacking, letting you ramp up the LOWS and the H-MIDS and rip that Swedish forest completely to shreds!

However, with all of this extra tone shaping, the pedal can sometimes begin to feedback at extreme settings.   So, if this proves too much and to help tame that high-frequency content, we added a new internal control to smoothen things out. By flipping the dip-switch to activate the input filter, this will help to tame the high frequencies when absolutely everything is maxed out.

PYLON – ATB Noise Gate

Perfect your Rig with Silence and Control

When you add drive, dirt or other sound manipulation devices to your signal, the trade-off is always noise. So, many players turn to noise gates to help tame these unwanted nasties. Unlike many noise gates on the market, the PYLON ATB Noise Gate seeks to not only drive back the hordes of fizz and hum, but also arms and reinforces your tonal attack, shutting down the noise and yet helping you enjoy your rig’s true potential. This advanced, multi-functional and super-versatile pedal not only features an ultra-fast Gate with a smooth trigger, an integrated Boost section, an External Trigger Input for external bypass switching or Gate-triggering, a relay-based Channel Switcher for your amp but also sports a built-in Audio Transformer to help enhance and balance your rig. Hear and feel the quiet in the eye of the storm!

Main Features:

  • ATB (Advanced Transformer Boost) Noise Gate Pedal
  • Easy-to-use, yet high-performance Blackmer® VCA-based Noise Gate
  • Integrated Audio Transformer – adds heft to signal
  • Switchable Boost/Attenuation circuit – up to 30 dB of gain on tap
  • Variable frequency CUT control – helps to tighten up the low end and remove mud
  • EXT Trigger Input – allows Gate and Bypass control from external sources
  • Channel Relay Output – switch your amp’s gain channel in sync with the pedal
  • FX-Loop, for signal-chain flexibility and 4-cable method connectivity
  • Internal Ground Lift Control
  • Relay-based soft-switching, with selectable Gate/Boost switching modes
  • Made in Berlin, Germany
  • Power by opt. 9 V PSU
            (9 V DC, centre -, 2.1 mm, >140 mA max. current draw)

When talking about signal gain, we all know drive circuits at full tilt can be noisy malice monsters. To help get a grip on your noise floor, PYLON’s NOISE GATE is based on a high-performance Blackmer® VCA and provides lightning-fast and precise performance. To find the right spot, simply choose between one of the two detection-range settings and dial in the THRESHOLD to taste. With either softly decaying notes using HIGH mode or a fast-closing response in LOW mode, you’re sure to be able to dial in super tight tones when you need it, but without interfering with your sonic signature. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish and just so you know when it is operating, the white status LED will also turn blue as soon as the gate starts to act.

Providing up to 30 dB of gain, the integrated BOOST circuit can really help to fine tune your tone, but it can also serve as an attenuator too. Its CUT control will tighten up your low end to ensure a mid-focussed and cutting lead sound when pushing your amp’s preamp into saturation. Choosing between three different modes for the boost’s on/off state, gives you plenty of options on how you want to use it.

Using transformers in pro-audio gear is nothing new, but while they help to easily match the impedance of low-level and unbalanced signals such as from guitar or bass instruments, PYLON’s audio-grade-transformer also gives additional warmth with associated nice low-frequency harmonics. Your guitars, synths or in fact anything you put through the pedal will never have sounded so solid. The pedal gives more ‘heft’ and enhances the core tone, in a much finer way and without any of the phase issues that can happen when using EQ alone!

CHIEF DISRUPTOR

Fundamntal Fuzz/Distortion

Welcome to a new era of the most iconic fuzz/distortion sound the world has ever known. You know, that epically huge and super satu- rated tone (some might call it big and muffy) that has defined the signature sound of so many artists and countless records in the past few decades. It’s arguably one of the pedals with the biggest impact on the entire industry, which has seen it modified over and over and over again. So much that you think it’s all been done, right? Oh boy do we have a surprise for you here! Holding three different Gain Modes, a pre- or post-EQ Clean Blend, active Bass and Treble controls, a foot-switchable and expression-controllable parametric Mid-EQ as well as a switchable top-boost for even more raspy, grinding bite, CHIEF DISRUPTOR is the most flexible, beautifully balanced and LOUDEST muff-style pedal you’ll ever hear!

Main Features:

  • Fuzz/Distortion Pedal with Switchable Mid EQ/Boost
  • The ultimate ‘muff-style’ drive, with stacked topology
  • 3 distinctive gain structures:
    • Vintage (dynamic)
    • Tight (more focussed)
    • Heavy (sustaining and thick)
  • Pre or Post Clean Blend, for a tight low end
  • Active Bass and Treble EQ
  • Separate Mid EQ, with footswitch and frequency control
  • Top-Boost, for more crunchy harmonics
  • External Expression control, allows for filter or pseudo-phase tones
  • Internal controls for Mid Q and Top Boost Level
  • Relay-based soft-switching
  • Made in Berlin, Germany
  • Power by opt. 9 V PSU
            (9 V DC, centre -, 2,1 mm, >160 mA max. current draw)

Over the years, different muff drives had different levels of gain, so we derived three major distinctive gain structures all based on what we consider to be the best versions. The Vintage Mode (VTG) will give you every shade of discrete overdrive, while the Tight Mode will give a more focused and modern tone with less bass and super crisp harmonics. Heavy Mode is the essence of what we all love about muffs. Heavy, sustaining and crazy thick fuzzy distortion, with bone-shaking lows and chewy mids. Just crank the Disruption (Gain) Control and you’ll know exactly what we’re talking about here.

Tonal shaping was one of the true weak points of classic muff pedals and something we absolutely knew we had to remedy. We’ve opened the gates to more modern tonal flexibility through our active Bass and Treble controls, which let you boost or cut highs and lows with up to 15 dB, while our parametric Mid-EQ with adjustable centre-frequency and level boost/cut allows you to fine tune the mids with extreme precision, for everything from classic scooped fuzz tones, modern mid-focused dirt tones and all the way to cocked-wah saturation.

You can take complete hands-free control of the Mid-EQ frequency via an expression-pedal. This lets you make instant tone changes on the fly, as well as unleash fast and quacky wah-like sounds or slow and enveloping phaser-like sweeps. If you feel like the filter needs to be more resonant for screaming synth-like sweeps or needs to be subtler, then you can adjust the Q of the Mid-EQ via an internal trimpot. The mids can also be turned on and off via the relay-based soft-switch, allowing you to kick in the mids for soaring solos, cutting chords or when you want to get filter freaky.

 

Having super saturated mids and lows can sometimes result in a perceived loss of highs. To fix this, just engage the Top-Boost to give your high-mids a big push for more crunchy harmonics and bite to cut through any band mix. Whether you’re looking for low gain drive, crunchy medium gain rhythm tones, singing or saturated lead sounds or skull-crushing doom tones, the Disruption control can and will cover all of them!

To preserve your precious core tone the CHIEF DISRUPTOR sports a clean blend control and a toggle switch to define the insert position. Insert your dry signal before the EQ section for a more cohesive sound or place it post-EQ to keep your dry signal completely unaffected.

Last but not least, we always felt the original muff pedals (and clones) lacked output, hence we implemented our stacked headroom topology to keep the EQs from getting saggy when cranked, all which results in the tightest, most punchy and LOUDEST muff-style tone on the market.

Go forth and empower your creative side, with tone that has true vision to inspire. If you are ready for a change in distortion history, then it’s time to follow the CHIEF DISRUPTOR!

GUARDIAN of the WURM

Your Tone Must Flow, so Tame the Terror

Fusing together the powerful evolution of KMA’s highly regarded WURM Distortion with an intuitive, yet versatile and ultra-fast Noise Gate, GUARDIAN of the WURM is the perfect metal monster. From chugging hard-rock, droning doom metal and grinding Swedish death metal, the beast abides. But through its highly tweakable control set, the pedal can be tamed to provide impeccable clarity to your riffs, making this the definitive dirt pedal for metal, prog-rock, shoegaze, indie and beyond.

Main Features:

  • Distortion Pedal with Built-in Noise Gate
  • The next evolution of KMA’s top-seller WURM, the most extensive and configurable HM-2 style unit on the market
  • Easy-to-use, yet high-performance Blackmer® VCA-based Noise Gate
  • 3 different clipping styles:
    • Silicon (As HM-2)
    • Asymmetric (More grit and less drive compression)
    • Off (Diode lift, perfect for bass and baritones)
  • Clean Blend, for a tight low end
  • Highly configurable 4-band Active EQ, with variable centre-frequencies
  • 3 distinct types of HIGH MIDS frequency controls, to tailor your tone
  • External Trigger Input, allows Noise Gate control from an external source
  • FX-Loop between Distortion and Noise-Gate, for signal-chain flexibility
  • Internal control for an input filter, signal-trigger source and Noise Gate response
  • Relay-based soft-switching, with variable Gate switching modes
  • Made in Berlin, Germany
  • Power by opt. 9 V PSU
    (9 V DC, centre -, 2,1 mm, >150 mA max. current draw)

Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it’s absolutely on the money. We’ve never tried to hide the fact that the WURM Distortion is our unabashed sonic love letter to this filthy box of doom and gloom, taking the essential ingredients of this classic, while in the process developing a way more flexible metal-distortion pedal.

While WURM absolutely nails that Swedish death-metal chainsaw sound, the pedal is not all about that and is adept for so many other genres. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and others have all made their mark with this style of distortion.

With GUARDIAN of the WURM, we’ve evolved our take on this venerable circuit and added a bunch of really useful new features. Whether you’re playing guitar, baritone, bass or synths through this pedal, we’re sure you’ll appreciate the immense flexibility on offer here. So let’s dig in.

We of course kept the iconic active HM-2 dual band EQ section, but added two more bands, giving a much wider range of tones to tailor your evil and gritty distortion sound. Each band now has a dedicated centre-frequency control on the front of the pedal, allowing you to quickly and easily change and fine-tune your tone.

The EQ-STYLE mode, now also on the front of the pedal, helps you carve out even more tonal variation. Selecting HM-II mode will get you that classic ‘chainsaw’ high-mids character. However, in KMA mode the EQ is a little more tonally balanced, less peaky and a bit wider in response. Selecting BOTH fattens and doubles up the tone stacking, allowing you to rank the LOWS and the HIGH MIDS and rip that Swedish forest even more to shreds.

 

To adjust the extent of drive compression, you can choose between 3 different clipping styles. Silicon (Si) delivers the original com- pression, for rich harmonics and singing leads. Asymmetric (A-S) increases the headroom and gives you more grit by retaining com- plex harmonics, while the OFF position lifts the sound of the Diodes for a slight compression and way more clarity, which is perfect for baritone guitars or bass.

Plus, the Clean Blend feature helps to preserve your natural core tone. Simply twist the BLEND control to mix in the original unpro- cessed signal, allowing the initial pick attack of your tone to breathe. It is also especially useful when running the GUARDIAN of the WURM into an already distorted high-gain amp.

When talking about high-gain, we all know drive circuits like this at full tilt can be noisy malice monsters. To get a grip on the poten- tial noise floor, we designed a sophisticated, yet easy to use Noise Gate. This is based on a high-performance Blackmer® VCA and provides lightning fast and precise performance. Simply set the Threshold to taste via the GATE control and enjoy the silence. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish. For even more tweakability, we fitted an internal DIP switch to change the trigger-source from pre- or post-Distortion or even pre-Noise Gate.

Pre-Noise Gate? Well, that’s because we added a TRS FX-Loop that works between the Distortion and the Noise Gate sections, al- lowing you to insert whatever fun noise-making pedals you might wish between them. You can also use this feature to place the Noise Gate section in your amplifier’s FX-Loop. Those who like to experiment with sound designs might even use the Noise Gate in other ways, for instance by using an external trigger source. No problem, the EXT TRIG jack hooks up to your source of choice.

In extreme settings, the WURM can sometimes begin to feedback, which can’t even be suppressed by the Noise Gate. To tame that high-frequency content, flip the internal dip-switch to activate the input filter to help smoothen things out. Yup, we did think of everything.

But wait, there is more! As the cherry on top, we added relay-based soft switches and also two different activation modes to suit the needs of different players.

“Independent mode” is exactly what it says on the tin. Both sides of the pedal can be switched on and off independently via the TER- ROR or TAME switches respectively. However, in “Synced mode” the entire pedal is switched on and off via the TERROR switch. In this mode the Noise Gate can also be switched in and out of the circuit as desired. Changing between modes is really simple to do. Just hold down both switches while connecting the pedal to the power supply, and you’re good to go. Once set, GUARDIAN of the WURM will remember the setting, even when powered off.

So here it is. Crank it up and you will feel the rage of the ancient WURM, while the GUARDIAN will help you tame that beast when needed, making GUARDIAN of the WURM your perfect pairing for an evil and gritty tone that never gets out of control… unless YOU want it to! \m/

TYLER DELUXE

The Advanced Freq Splitter

Do you remember the sounds coming from the woods, as a rough and towering man was wielding his frequency-splitting axe? Driven by nature’s most primordial force, that man then dropped his simple axe, picked up his power saw and evolved into something more. Something bigger, stronger and more versatile. Standing tall is TYLER DELUXE – the ultimate frequency-selective signal-splitting tool, ideal for developing new sounds and leading your creativity down new inspiring parallel paths.

Features

  • Two-Channel Signal Splitter – Variable 12 dB/oct. Low/High-Pass
  • Fully-Isolated and Transformer-based FX Loop Sends
  • Variable Clean Blend and Mix controls – for the perfect blend of highs and lows
  • Loop-dedicated and main Phase-Inverters
  • Relay-based soft-switching
  • Separate Buffered FX-Loops for each filter
  • Active Level Control – up to12 dB boost
  • Made in Berlin, Germany
  • Powered by 9 V PSU
            (9 V DC, centre -, 2.1mm, ~100 mA max. current draw)

KMA Machine’s TYLER (active and variable two channel crossover/signal splitter) has successfully found its place on many bass and guitar players’ boards around the world, helping them refine and define their tone. However never to stand still, we at KMA Machines decided to step up the game and create a more advanced, versatile and flexible solution, based on the great feedback from our users.

The heart of the pedal is still the same essential filter sections, which splits your signal into different loops with HIGH PASS and LOW PASS paths (both filters have a 12 dB/oct. roll-off with a variable cut-off frequency from 20 Hz to 3 kHz). The rest of the vital tonal organs have had a thorough upgrade, which has resulted in an improved noise floor too. So, let’s dive into everything that makes this pedal DELUXE.

Since the original TYLER was also used as an advanced AB/Y box by many, it was found that ground loops could occur – no more with TYLER DELUXE! Both SENDs are now transformer coupled (with TRIAD Magnetics) to give you a nice and warm saturation, while avoiding ground-loops (internal slide-switched ground-lift). To be prepared for almost every situation and every pedal, both loops also got their own phase inversion switch (+/-) to get rid of potential unwanted phase cancelation.

The next new must-have feature is there to ensure the transparency of your setup and because we know it’s important to you and to us, we added the good old CLEAN blend.

So far so good, but the deluxe delights don’t stop here! A master phase-switch ensures a fixed and reliable interaction with your set filter-frequency in every situation, no matter if you either have a loop engaged or not. But wait, for all of you who wants to follow TYLER’s evolution, we added another claimed feature. The LP-CUT and HP-CUT switches will now mute your loops when bypassed, which will give you tons of new options to be creative, by only using the engaged loops without having clean artefacts pass through when disengaging one of the loops.

Modern times brings modern needs, so TYLER DELUXE is now equipped with relay-based soft-switches, an internal step-up to increase the headroom for hotter input signals and low-noise op-amps to improve the overall sound-quality and usability.

Some fun examples of use: Bass players want to retain their low end while using their favourite fuzz or dirt pedal. Insert your dirt box in the high-pass FX-Loop and adjust the cut-off frequency of the High and Low Pass to your needs. Dial in your preferred ratio of those Low and High Pass signals, engage the HP LOOP footswitch and you will never turn off TYLER DELUXE again! You can also insert different modulation pedals, for example insert a lush phaser for the lows and a nice shimmering delay for the highs and TYLER DELUXE will make it sound like two different guitars are playing at once. Mix up your modulation pedals with any of your dirt pedals, for a very pronounced and punchy sound all coming from one amp.

If there ever was a Swiss army knife for your tone, then TYLER DELUXE must surely be it. So, fire up your frequency saw and start defining your own unique sonic path.

Cirrus – Delay and Reverb

Spatial-Temporal Modifier

Floating above your head, delicate and elusive yet dreamy and sweeping. Always in motion until it dissolves and merges with the all immersive atmosphere around it. Just close your eyes and let the KMA Machines’ Cirrus Delay and Reverb carry you across the open sky, onto its sonic cloudscapes.

Cirrus is KMA Machines’ first step into the fully digital realm. But we didn’t just want to do a regular and run-of-the-mill type of product. No, what we came up with is a truly special and versatile, dynamically modulated combined Delay and Reverb pedal that will forever change your perception of time and space.

Made up of a Delay side and a Reverb side, both sides of Cirrus sport the most important basic controls such as Time (up to 1.5 sec). Repeats for the Delay and Decay and Damp for the Reverb. Plus, each side has its own mix control as well. So far so good, but now it’s time to jump down the sonic wormhole!

This little Spatial-Temporal Modifier gives you three different Delay AND Reverb modes, which all sport a special dynamic feature that is controlled by your picking attack. This enables you to create sounds that are certifiably out of this world! To set the sensitivity of how the sound reacts, every section has its own sensitivity control.

Main Features

  • Creative and inspiring Delay and Reverb pedal
  • Multiple and extensive independent modulation features:
    • Reverb – Modulation, Low-pass and High-pass Filters
    • Delay – S/H, Modulation and Octave
    • Reverb/Delay position order switch and individual mix controls
  • Tap Tempo with additional momentary switch options
  • Expression input – allows selectable foot control of most Reverb and Delay tone shaping functions
  • FX Loop – add additional pedals within the signal chain for a world of other spatial tones
  • Made by hand in Germany
  • Powered by 9V PSU
    (9V DC, centre -, 2.1mm, ~220mA current draw)

The different Delay and Reverb modes cover vastly different modulated areas.

Modulated Delay Mode (MOD) fluctuates the Delay signal for a dynamic dancing tape echo-inspired modulation that’ll deliver everything from subtle sways, to crazy pitch-bends. The Sample & Hold Mode (S/H) adds a sequencer-like filter in front of the Delay line, perfect for synthy textures. Play softly for subtle filter action or hit it hard for more pronounced electro-vibes. The third Delay Mode (OCT) blends in a high octave as your notes decay for unique shimmery dimensions, shining through like tiny stars in the cloudy night sky.

Over to the Reverb section, Modulated Reverb Mode (MOD) will decorate your trails with silky smooth movement, whereas the two other Modes deliver either an opening Low-pass Filter (LP) or a closing High-pass Filter (HP). The harder you pick the more the Low-pass will open up and bring in those shimmering highs, as if you’re opening and closing portals to far away galaxies simply through your playing. Contrary to that, the closing High-pass will cut your lower frequencies when picking harder which will create cool lo-fi textures. However, the ambient party doesn’t stop here!

A big part of creating a signature sound comes from your pedal order and we know that a lot of you like to get creative there. Well, the Cirrus obliges! Set the Order Toggle to “Reverb” to run the Delay into the Reverb or flip it to “Delay” to switch it the other way – either direction will give you worlds of inspired soundscapes. You even get another Toggle Switch to set the Delay Tap subdivision, so you can get the right rhythms rolling fast. Toggles are awesome!

Now, on to the footswitches – Tap-Tempo on the left (neat!) and the much-needed Bypass Switch on the right (classic!). But wait, we actually made these stompers cool – the humble Bypass and Tap-Tempo Switches are suddenly full of additional creative secrets!

Besides the standard latching mode, the Bypass Switch offers some cool, yet creative and simple to use options. When the pedal is off, you can engage the pedal momentarily by holding the Switch down for sudden bursts of ambience. When the pedal is on though, holding down the Switch maxes out the Decay, jumping you straight into infinite reverb wonderland. You can also hold down the Tap-Tempo Switch to max out the repeats for infinite echoes. Plus, you can even hold down BOTH at the same time to enter an endless cascading dream state!

We’ve also equipped Cirrus with an Expression Pedal input (standard TRS connection) and a Selector Switch, giving you complete hands-free control over whatever key parameter of Cirrus you want. In addition, an internal switch can turn the Reverb and Delay trails on or off to taste, plus the individual Reverb and Delay mix controls help to tailor your sound exactly as you see fit.

As the final piece of the tonal puzzle, we added a Serial FX-Loop, letting you put any pedal in front of the Delay/Reverb line, to further flavor your own signature sound.

Phew, that was a lot of awesomeness in one box – now the rest is up to you. Engage Cirrus and ride the atmospheric high clouds. But be aware – there’s a big chance you’ll get lost in its stunning beauty for hours when up there!

Logan

Transcend beyond limits

Yes, yes, we know… yet another overdrive pedal! Does the world really need this?

Well, in the case of Logan, KMA honestly believe the answer is a resounding YES! Otherwise they wouldn’t have spent over a year conceptualising, designing and perfecting Logan in order to give the world a first class and adaptable drive pedal that adds immense tonal dimension and flexibility to anyone’s setup, all while preserving the natural characteristics and feel of your instrument.

Logan is made to transcend the well-known boundaries of overdrive. It doesn’t matter if a musician is looking for a pre-amp, a low/mid-gain drive or a screaming resonant cocked-wah sound, Logan will deliver the goods and more! Combined with KMA’s active 3-Band EQ, including a fully parametric Mid-EQ with a separate On/Off-Footswitch, Pre or Post Gain position-switch and an expression-in for hands-free filter sweeps, Logan is sure to provide great tones and outstanding flexibility.

Main Features

  • Open and super touch-responsive overdrive pedal

  • Impressive high-headroom-design (up to 25 dB) – perfect for use as a preamp with IR cab sim or modellers

  • 3-band Active EQ with adjustable Mid Frequency – allows for the ultimate in tonal flexibility

  • Dedicated Mids footswitch – great for pushing solos 

  • Standard expression input – allows control of the midrange frequency for fast and quacky wah-like sounds, to slow and enveloping phaser style filter sweeps

  • Made by hand in Germany

  • Powered by opt. 9V PSU
    (9V DC, centre -, 2.1mm, ~30mA current draw)

Horizont

A Phaser From The Future

Jump into spaceship Horizont and begin your trek into star- filled galaxies, all while discovering the incredible vastness of the sounds created by this inter-dimensional multi-spatial stereo analog JFET Phaser. The unexpected is waiting for you behind the far away horizon and it will be a journey you’ll never forget!

The Horizont’s mission is to push way beyond the classic phasing sounds of yesteryear, and take you to uncharted phaser worlds the second you plug in. By combining lush analog JFET phasing with digitally controlled dynamics, Horizont creates a vivid and expressive modulation experience, all while providing experimental and creative features that’ll kick phasing well into the 21st century.

Besides the more common phaser controls, the Horizont offers a plethora of new and exciting options for all the interstellar tone chasers out there. To greatly broaden the range of phasing tones available, KMA implemented a digital LFO with no less than eight different waveforms: Ramp Up/Down, Sine/Triangle/Square wave, a sweeping waveform, Sample & Hold and a random slope waveform going from 20s down to 40ms.

The implemented envelope generator is one of Horizont’s absolute key features. It transforms your input signal into a control source to modulate the speed of the digitally controlled LFO or lets you manually phase for a resonant touch wah- like sound, depending on the state of the SWP- and SPURTCONTROL-Switch.

But don’t be fooled by all of these seemingly complex features, the Horizont is a super intuitive next generation phaser that’ll see your tone take flight in seconds flat. Whether you are looking for traditional phasing sounds, experimental synthetic soundscapes or super dynamical sonic endeavours, the Horizont will have you covered to infinity and beyond.

Main Features

  • Multi-spatial JFET Phaser – with 8 different waveforms
  • LFO, Envelope and Manually controlled phasing – for a world of dynamic phaser tones
  • Stereo Outs – for standard stereo or stereo panning mode
  • Expression and CV in – for super expressive phaser tones
  • Effects Loop – create super unique phaser tones by adding in other pedals
  • Tap Tempo – for precise tempo sync, live and in the studio
  • Handmade in Berlin, Germany
  • Powered by 9V PSU
    (9V DC, centre -, 2.1mm, ~83mA current draw)

Astrospurt

Phaser Set To Stunning

Time and Space are lost within the sound of the universe. Breathe in and breathe out, slow down and be ready for the Astrospurt. Fasten your seatbelt and get lost in the wide, warm and soft soundscapes generated by this pedal!

The Astrospurt is KMA’s take on the classic four-stage JFET based phaser. Taking this classic analog circuit, they squeezed out everything they could to give you a versatile and great sounding, but very easy to use pedal.

KMA wanted to get rid of the fixed volume when engaging the pedal, so they implemented a control to dial in the right amount of SIGNAL, either to boost or cut it. To give you a possibility for a more subtle phasing sound, the Astrospurt has a DEPTH control where you can choose between a pronounced phased tone or a more slightly modulated signal.

The Astrospurt is not just a regular phaser though, it covers all the spacey, dizzy and wobble sounds and has these all on tap. The MIX control defines the ratio of clean and phase shifted signal – turn it fully clockwise to get just a clean tone, but start turning it the other way and the sound gets much more crazier. Turn it fully counter-clockwise to get the pulsing vibe of the stars surrounding you.

But there is something you cannot miss to hear before flipping the switch on the left – listen to the secrets of the black hole. Some crackling noise here, or a tock tock there. Turn up the EMPH control to push everything over the edge.

Adding a distortion or a fuzz in front of the Astrospurt will bring you synthetic and metallic sounds – once tried, you will never head back!

So turn up the SPURT control, see how fast the engines will flicker and at the end of your journey, turn it down and rest in that wide and swooshy tone.

Main Features

  • Wide range of phaser tones – from classic to the future
  • MIX control – adds clean signal for clarity
  • Switchable EMPH control – for a world of extra oscillating sounds
  • SIGNAL control – adds boost or cut in level to help match your tone
  • Handmade in Berlin, Germany
  • True-Bypass switching
  • Powered by opt. 9V PSU
    (9V DC, centre -, 2.1mm, ~5mA current draw)

Minos

The Germanium Fuzz God

Conqueror of old lands and cursed with the unholy horned bastard son, King Minos has returned, filled with anger to deliver those ancient tones of fuzz-history!

The Minos is KMA Machines’ modern approach to the old-fashioned and beloved three- stage germanium fuzz sound, derived from and inspired by the legendary Tonebender MKII and the unique, but now hard-to-find Superfuzz pedals. However, much more than just mere recreations of these classics, Minos is a versatile tool for many different styles of fuzz sounds and music.

With the INPUT control, you can dial in the perfect amount of pre-gain and bass input. Turn it to the left and it gives you a gritty and crisp overdriven tone, which is perfect for garage and blues, while turning it in the other direction gives you a thick and woolly fuzz.

KMA’s attempt of the ‘Tonebender-ish’ style of pedal has a much broader range of gain structures though. Sweep through any shades of dirty tone, from raunchy low gain distortion to thick angry fuzz.

Every combination of amp and instrument behaves differently, so to help tailor the pedal to your own rig, KMA added some additional tone-shaping controls. Tailor the bass response at the output with the three-way switch. This allows you to choose between lo-fi jangle, punchy low mid or a deep and boomy fuzz that will tear down everything! If it is all too shrill though, you can modify the high-end with the tone-cut, which tames the brightness on full gain.

The overall character of the fuzz can be changed with two internal trim-pots which set the bias of the second and third transistor. Change that bias at your own risk though, as it may unleash the wrath of the Minotaur!

Main Features

  • Versatile Three-stage Germanium Fuzz Pedal
  • Wide range of fuzz tones- from woolly or lo-fi jangle, to thick and angry
  • TONE CUT and BASS switches – to help shape your own tone and match your rig
  • Separate INPUT and OUTPUT controls
  • Handmade in Berlin, Germany
  • True-Bypass switching
  • Powered by opt. 9V PSU
    (9V DC, centre -, 2.1mm, ~5mA current draw)

Moai Maea

Subsonic Power Punch

Moai Maea is KMA Audio Machines’ answer to long forgotten analog octaver tones. The pedal generates one higher octave and up to two sub-octaves, helping you generate a huge wall of sound by playing just one note.

The higher octave has an edgy and fuzzy character which is reminiscent of old late ‘60s early ‘70s octave-up tones, as used by legends like Hendrix or The Stooges. The sub-octaves turn your guitar into a filthy bass guitar with ground shaking lows. Choose between either the first (-I), the second (-II) or both together (-I/-II), which gives you the sought-after wall of sound.

The Moai Maea also gives you the possibility to create an individual mix of each generated octave and the original signal. To expand your soundscapes, the pedal features a serial buffered FX-Loop, within the clean path, plus a phase inverter to avoid phase-cancelation when mixing signals this way. Each octave section is foot-switchable. You can turn on and off the higher octave by jumping on the SHRIEK switch and the sub-octave by the DRONE switch.

So if you are looking for a pedal to you that extra edge for your guitar sound, Moai Maea might well be the nirvana you’ve been looking for.

Main Features

  • Wide range of fuzz octave tones, independently foot-switchable
  • Serial buffered FX loop
  • Clean mix – for a world of expanded soundscapes
  • Handmade in Berlin, Germany
  • True-Bypass switching
  • Powered by opt. 9V PSU
    (9V DC, centre -, 2.1mm, ~20mA current draw)

KMA Audio Machines

Audio Distribution Group is proud to be the worldwide distributor for KMA Machines.

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