SOLD GEAR

A large portion of the Pedal board of Lee Ranaldo used up until current day. Vintage MXR Blue Box, EHX Micro Synthesizer. Ernie Ball Exp pedal. Moog Moogerfooger Ring Modulator.

Connected on a power strip exactly as Lee had left it. Complete with notes and markers.

Likewise, if you purchased this, I would buy it!

Works as it should. A/B, Tuner IN.

The BI-CHORUS offers two sets of SPEED and DEPTH knobs, allowing two different settings to be selected without having to adjust any knobs. Not two pedals in one, but two sound presets. Also optional TRUE STEREO outputs!.

Works as it should. Gaff tape settings. Number 123.

This does have some settings marked, so it may have been used live or in the studio.

There are many overdrive pedals on the market, but none of them have been quite right, preserving the tone of the guitar and adding the right amount of overdrive without compromise. There are some good clean boosts available, but they just don't have enough drive to really give your amp the distortion you often want. There are some newer OD pedals that have a great frequency response, but to me they sound too DRY, a bit sterile and cardboardy. There are also some nice sounding pedals available but their sound is too "saturated", losing the touch and feel of your guitar.

That is where the King Of Tone pedal comes in - it has enough warm overdrive but still preserves the tones of your quality guitars and amps. If you are looking for a big change in your sound, or a lot of distortion, this is probably not the pedal for you.

This one unfortunately works intermittently. Needs repair. Settings marked with tape. Dusty. Missing feet.

This does have some settings marked, so it may have been used live or in the studio.

Not very much information available about this pedal. That said, it works without any issue.

The Arion SAD-3 Stereo Delay Pedal features level, feedback, and delay controls and a soft/long mode switch. Includes 9V battery. The following power adapters work with the SAD-3: Boss PSA-120 or Line 6 Tone DC-1.

Works as it should. Mild effect.

Guitar volume pedal mono, made of ABS with shielded metal plate base and rubber feet.

Very clean. Works properly.

With the classic BOSS BF-2 Flanger, a flanging effect is produced by combining the original signal with an electronically delayed signal. Using four controls, you can tailor a variety of sounds--from dynamic jet-plane effects to short delay, chorus and vibrato sounds.

Clean. Works as it should.

From 1981 to 1989, the Boss CS-2 Compression Sustainer was one of the few go-to compressor options. Over thirty years later, people still seek out this rugged and reliable classic for its smooth tone and even response.

Works as it should. Gaff markings.

This was probably Lee's.

This compact pedal provides a digital delay effect with outstanding quality equivalent to that of a dedicated rackmount delay unit, all with simple stompbox-style control.

Works well. Beat up. Knobs are loose-ish. Tape markers. Show dirt. Mmmm

This may have been Kim's.

This compact pedal provides a digital delay effect with outstanding quality equivalent to that of a dedicated rackmount delay unit, all with simple stompbox-style control.

Pedal lights up. Effect does not engage. Is sold as-is.

This may have been Kim's.

The DD-5 offers four switchable delay ranges and 11 modes that give access to delays from 1ms all the way up to a walloping 2000ms. Delay time can also be set in real time using the Tap Tempo function and an optional FS-5U footswitch. With the Hold mode you can sample a passage simply by pressing and releasing the pedal.

Broken rubberband. Light stays on. Pedal functions.

The GE-7 Equalizer pedal offers seven bands of EQ ranging from 100Hz to 6.4kHz, ideal for guitar sounds, with boost/cut of +/- 15dB per band. This lets you completely control your sound and eliminate unwanted feedback, particularly when connected after a distortion effect.

Switching is a little iffy. Sliders were scratchy but this went away after some use. Overall, pedal functions as it should.

This could have been Lee's or Jim's.

The Boss GE-7B is a discontinued equalizer pedals specifically calibrated for use with basses. It included seven bands with an additional level fader. Production shifted from Japan to Taiwan towards the end of its run. Switching is a little iffy.

Sliders were scratchy but this went away after some use. Pedal functions as it should.

The OC-2 Octave pedal lets users fatten up their sound by adding two additional tones--one and two octaves below the original note. Each tone has a separate volume control and plays back with outstanding clarity.

Output jack is loose and finicky. Looks used. Knobs have are unstable and do not turn as they should. Have been removed and put back on per Sonic Youths preference.

This may have been Jim's.

The BOSS TU-2 Chromatic Tuner incorporates BOSS' world renowned TU-Series tuner technology into an ultra-convenient stompbox design. For the first time ever, guitarists and bassists can now tune their instruments with unrivaled accuracy and an unmatched tuning range--with just a single stomp.

Works without issue. With box. Marked.

This may be Kim's or Mark's.

The BOSS TU-2 Chromatic Tuner incorporates BOSS' world renowned TU-Series tuner technology into an ultra-convenient stompbox design. For the first time ever, guitarists and bassists can now tune their instruments with unrivaled accuracy and an unmatched tuning range--with just a single stomp.

Tunes as it should. Very beat up. Still works.

This may be Kim's or Mark's.

Missing some of the internal electronics. Appears modded by Sonic Youth. Mostly functioning. Somewhat scratchy at first but this had cleared up. Super cool effect.

The Crowther Hot Cake Overdrive incorporates elements like non-inverted phase polarity, internal bass accentuation switch for added low-end, and and easy to use three-knob interface consisting of controls for level drive, and presence.

Designed to offer a wide range of sonic options, the Hot Cake serves uncolored clean boost with just the volume knob in play and commensurately scales gritty distortion as the drive knob is cranked.

Settings marked in gaff tape. Presence knob missing it's top. Velcro on the bottom.

This may have been Thurston's.

The Crowther Hot Cake Overdrive incorporates elements like non-inverted phase polarity, internal bass accentuation switch for added low-end, and and easy to use three-knob interface consisting of controls for level drive, and presence.

Designed to offer a wide range of sonic options, the Hot Cake serves uncolored clean boost with just the volume knob in play and commensurately scales gritty distortion as the drive knob is cranked.

Highly marked. Lots of tape. Pedal functions. Pots are scratchy. cleared up as they were turned more.

This may have been Thurston's.

The Prunes and Custard is a distortion featuring preamp and wave-shaping stage circuits and a control for the low frequency contour.

Doesn't function properly. Powers on. LF Retain switch is broken. Needs repair. Sold As-Is

This was Mark's.

The Prunes and Custard is a distortion featuring preamp and wave-shaping stage circuits and a control for the low frequency contour.

Broken knob. Still turns. Pre screened enclosure. Little scratchy but settles in nicely. Overall -- Works as it should.

Considered by many to be the industry standard "go to" pedal when you want to add spice to a riff, our X-Series Synth Wah goes beyond the standard one sound other brands offer you and delivers 7 different synth effects to choose from including funky envelope filters, synth tones, and filter sweep effects! You want your music to sound as unique as you are and DigiTech gives you the power to create that sound wrapped up in a rugged metal chassis with dual wet and dry outputs.

Super cool pedal. Looks unused. With box. Functions without issue.

The DOD AC270 is a simple A/B box. It provides switching from one source, to two destinations, or two sources to one destination. The switching is done via a mechanical push/push switch. Source and destination connections are all unbalanced 1/4" jacks.

Gaff taped. Live box splitting organ and Gitari. Velcro on bottom.

This may have been used by Lee when he was using the Korg Organ?

The EBS OctaBass is a first-class, all-analog octave divider. It creates a single note one octave below the pitch of the note you play, even recognizing two- or three-note chords.

The incredibly fast tracking circuitry lets you play at the speed you want, not at the speed the divider will allow. It has Normal and Octave level knobs as well as a switch that lets you select from three modes: High (synth), Mid (classic divider), and Low (sub-shaking lows).

Functions without issue. Velcro on bottom.

First edition V7 Tall Font Green Russian Big Muffs with the die cast ridged-side box and aftermarket knobs. Muff is transition Bubble Font Green Russian, with second edition graphics on a first edition box.

Super clean Russian Muff. Battery plate is gaffed on. Haven't removed to keep up with the provenance of it being as Sonic Youth and left it as is. With box marked "Stage Spare"

This was probably Thurston's but Lee and Jim used them too.

V7 second edition Black Russian Big Muffs in the large six-screw box, with large footswitch. Note the change to the USA Big Muff font, the word "DISTORTION" changed to "SUSTAIN", and removal of the word Sovtek from the graphics (some may have the previous graphics due to production crossover time). Also note the wider metal ridge tabs inside the box bottom. These are different than the short ridges in other Black Russians and sheet metal boxed Green Russians.

The PCB trace pattern is the same as the last Green Russian Big Muff PCB.

Currently not producing any sound. Gaff tape markers. Battery connection needs a little repair.

This was probably Thurston's but Lee and Jim used them too.

The NYC original. Hendrix and Santana were among the first to get a piece of the Pi, and for over 40 years the Big Muff Pi has been defining the sound of rock guitar. Revered by contemporary guitarists and rock legends for its rich, creamy, violin-like sustain, from Pink Floyd to The White Stripes, everyone still wants a piece of the Pi!.

Functions as it should. Average wear.

This was probably Thurston's, but Lee and Jim used them too.

The most in-demand analog delay ever built. Musicians love it and collectors cherish it. Experience the analog edge. Nothing can compare to the organic sound of analog delay, and no one does analog like the Deluxe Memory Man! Up to 550 mS of vibrant echo that rivals tape delay; lush, spatial chorus and haunting vibrato are just a few of the treats in the Memory Man's sonic smorgasbord!

Gaff tape markings. No power supply. No way to test. Looks unmodded unlike other Micro Synths in this shop.

This was probably Kim's.

Classic dual overdrive. The original 1969 plug-in Muff Fuzz had just a touch of overdrive and sounded like a vintage amp with a slightly torn speaker. We paired two of these together in one box to create the Double Muff. Use just one Muff for a hint of milky distortion, or cascade the second Muff for over-the-top overdrive that turns the milk into cream. Two distortions in one!

In box. Very lightly used. Works without issue.

Divine reverb for mere mortals. Down from the heavens comes the Holy Grail, a compact digital reverb guitar pedal that is priced so low thou shalt not covet thy neighbor's reverb tank any longer. The Holy Grail will make you a believer with its emulation of classic Spring reverb so faithful that even Dick Dale couldn't tell the difference.

Next, get lost in the lush spaciousness of the Hall reverb and ask yourself, "how did they fit Notre Dame into such a small package?" Finally, reach enlightenment with the haunting Flerb.

Pedal doesn't function properly. Lights up but just distorts. Sold As-Is

This was used by Jim.

Divine reverb for mere mortals. Down from the heavens comes the Holy Grail, a compact digital reverb guitar pedal that is priced so low thou shalt not covet thy neighbor's reverb tank any longer. The Holy Grail will make you a believer with its emulation of classic Spring reverb so faithful that even Dick Dale couldn't tell the difference.

Next, get lost in the lush spaciousness of the Hall reverb and ask yourself, "how did they fit Notre Dame into such a small package?" Finally, reach enlightenment with the haunting Flerb.

Looks super clean. Almost unused. With it's own power supply. That said, the power supply is not working. Unable to get the pedal to engage. With box and paperwork.

The original EHX Hot Tubes was a tube-based distortion effect that came in a variety of casings. The modern reissue is distinguished by a black heat shield.

Crackling. Beat up. Engages, but volume cuts. Effect doesn't process properly. Needs repair. Kim's effect for many years.

This was Kim's.

Same silky smooth violin-like sustain and creamy tone that made the legendary 1970 Big Muff Pi famous. This little brother displays its heritage proudly. Same circuitry in a compact die-cast box.

Works without issue.

Same silky smooth violin-like sustain and creamy tone that made the legendary 1970 Big Muff Pi famous. This little brother displays its heritage proudly. Same circuitry in a compact die-cast box.

In the box. Looks good as new. Functions as it should.

From the classic vintage sounds of the great early Moog synthesizer to wild custom creations, the Micro Synthesizer for Guitar lets the player create those fat analog synthesizer sounds heard on records by everyone from George Clinton to the Police to the Chemical Brothers. The compact layout of ten slider controls lets the sonically adventurous guitarist dial in a virtually limitless array of analog synthesizer sounds.

No Power supply. Modded. Gaff tape markings.

This was probably Lee's.

From the classic vintage sounds of the great early Moog(tm) synthesizer to wild custom creations, the Micro Synthesizer for Guitar lets the player create those fat analog synthesizer sounds heard on records by everyone from George Clinton to the Police to the Chemical Brothers.

The compact layout of ten slider controls lets the sonically adventurous guitarist dial in a virtually limitless array of analog synthesizer sounds.

Sliders are broken off, but can still be slid. Kim's Micro Synth. w/ Power Supply.

This was Kim's.

With the POG you can add one octave up, two octaves up, and one octave down from your original guitar signal and blend them all together - plus it works on strummed or arpeggiated chords! Want your guitar to sound like a 12 string? The POG can do it, especially with controlled detuning - or even make it sound like an 18 string.

Easily generate the sound of a drawbar organ. Make your guitar sound like a bass guitar.

LPF Modes switch is broken. No power supply. No way to test. Sold As-Is.

The Signal Pad is a passive attenuator that allows you to instantly switch to a different preset volume. It's like your guitar's volume knob, with a fully-passive and color-free circuit. Leave your amp's volume set high for overdrive, and use the Signal Pad to lower your level for a clean sound -- then switch it off to kick in your amp's natural overdrive. You can also experiment with the Signal Pad anywhere in your effects chain -- you'll bring out new tonal combinations from your favorite old pedals.

New in box. Works exactly as it should.

Get the sound that made the Classic 1970 Small Stone famous. Generates thick sweeping phase shifting with liquid transparency. Feedback color control adds a tingling swirl. Blues players dig the Stone's rapid rotating speaker effect. Country players add tasty seasoning to their chicken pickin'. Metal-heads dig its jet plane swoosh.

Taped. Marked. Gaffed. Velcro'd. Beat Up. Works without issue. No power supply.

This was Jim's.

Get the sound that made the Classic 1970 Small Stone famous. Generates thick sweeping phase shifting with liquid transparency. Feedback color control adds a tingling swirl. Blues players dig the Stone's rapid rotating speaker effect. Country players add tasty seasoning to their chicken pickin'. Metal-heads dig its jet plane swoosh.

Light is pushed into the pedal but still works. Pedal functions exactly as it should. Battery plate in tact. In Big Muff wood box.

Be in control of your sound with the diverse assortment of Ernie Ball volume pedals. A performance must-have, a volume pedal allows you to control the level of sound coming out of your amp using only your foot.

A staple on any pedalboard, volume pedals come in handy when you need to adjust the sound between a high energy song and a ballad during a set. Volume pedals are the third musketeer to your guitar and amplifier.. Kim Main.

Works without issue. Very clean.

This was Kim's.

Be in control of your sound with the diverse assortment of Ernie Ball volume pedals. A performance must-have, a volume pedal allows you to control the level of sound coming out of your amp using only your foot. A staple on any pedalboard, volume pedals come in handy when you need to adjust the sound between a high energy song and a ballad during a set. Volume pedals are the third musketeer to your guitar and amplifier.

Kim's pedal. Works without issue. Gaff markings.

This was Kim's.

Be in control of your sound with the diverse assortment of Ernie Ball volume pedals. A performance must-have, a volume pedal allows you to control the level of sound coming out of your amp using only your foot. A staple on any pedalboard, volume pedals come in handy when you need to adjust the sound between a high energy song and a ballad during a set. Volume pedals are the third musketeer to your guitar and amplifier.

Ernie Ball volume pedal which has been repurposed and hardwired to be an expression pedal. Unique piece to Sonic Youth.

I believe this was Lee's, modded to use with his Moogerfooger Ring Modulator.

The Eventide Space puts the legendary, studio-quality sounds from the company's flagship rackmount processors into an immensely versatile pedal. Send your sound into pristine hall, plate and and room sounds, or get downright weird with reverse reverbs, modulated tails and tripped out pitch-shift effects.

New in box. Functions with no issue.

This Fender Phaser Effect Pedal from the Classics Series adds versatility to your sound with a few easy knobs.

Rate--This knob controls the rate at which the phase shifting occurs. The rate control knob alternately illuminates blue and red at the same rate as the phase shifting.

Intensity--This knob adjusts the intensity of the Phasing effect.

Frequency--This knob adjusts what frequencies are affected by the phasing action. Fully counter-clockwise causes the bass frequencies to be affected most by the phasing action, fully clockwise causes the treble frequencies to be most affected by the phasing action.

Bypass Switch--A "true-bypass" of the phaser effect. Turns the phasing effect on-off.

Output Jack--Connect to the input of your amplifier (or other audio device).

Input jack--Plug your guitar (or other audio source) in here. Unplug the input plug from this jack to turn off the device and save power (very important) when not in use.

DC Input Jack--Plug in a AC- 9V DC adaptor (see specifications) into this jack to eliminate the need for batteries.

So cool. Works as it should. No issue. Vintage input / output layout.

If you're looking at this auction, you probably know a bit about these already. The Hammond Condor Innovex GSM was one of the first guitar synthesizers. It was the result of a collaboration between Hammond and Ovation Guitars. Jimi Hendrix was inspired to purchase one of these systems at Manny's in NYC...one of the reasons it piqued the band's interest, namely Jim O'Rourke

These are rare items to come by. It is about 45 years old and works but is in need of some TLC to get it back to optimal operation.

Serial: 5921. In case with cabling, but nothing to attach it to. Turns on. Comes with bag of additional parts which looks like it from a previous repair. Jim O'Rourke's. Late 90's acquisition from the band.

The Hughes & Kettner Tube Factor is a powerful overdrive that uses real tubes operating at amp-level voltages to achieve an authentic tube driven tone. Offering two channels that can provide either thick, clean boost or blistering leads, the Tube Factor's controls for Drive, Voicing and overall Output let you tailor the tone to suit whatever flavor of saturation you need. For the ultimate in touch-sensitive, amp-like overdrive, you have to check out the Hughes & Kettner Tube Factor.

Gaff tape markings. Power Supply included. Works as it should. Was used on Letterman.

This was Lee's.

The Hughes & Kettner Tube Factor is a powerful overdrive that uses real tubes operating at amp-level voltages to achieve an authentic tube driven tone. Offering two channels that can provide either thick, clean boost or blistering leads, the Tube Factor's controls for Drive, Voicing and overall Output let you tailor the tone to suit whatever flavor of saturation you need. For the ultimate in touch-sensitive, amp-like overdrive, you have to check out the Hughes & Kettner Tube Factor.

Gaff tape markings. Power Supply included.

This was Lee's.

The Hughes & Kettner Tube Factor is a powerful overdrive that uses real tubes operating at amp-level voltages to achieve an authentic tube driven tone. Offering two channels that can provide either thick, clean boost or blistering leads, the Tube Factor's controls for Drive, Voicing and overall Output let you tailor the tone to suit whatever flavor of saturation you need.

For the ultimate in touch-sensitive, amp-like overdrive, you have to check out the Hughes & Kettner Tube Factor.

Lights up. Powers on. Very faint sound. Something is wrong with this unit. In box with power supply.

This was Lee's.

The original Ibanez Tube King overdrive was a very different beast than the reissued version in the red diamond-shaped box, which seems to be a rather bland, metal-oriented high gain distortion. In fact, the original Tube Kings were just a slight variation on the BK Butler Tube Driver, designed and built by Butler himself, for Ibanez, in Denver.

Later versions were manufactured by Ibanez in Japan and featured a high quality noise suppression circuit, but otherwise were identical to the originals. The Tube King has a similarly big, amp-like tone as Butler's Tube Driver, with perhaps slightly more gain available. The original 12AX7 in these can be a tad harsh, but swapping it out for a lower gain 12AU7 or 12AT7 makes a considerable improvement in the Tube King's overall tone and noise floor.

w/ Box & power supply. Gaff markings. Sharpie markings. Works as it should.

This was Lee's.

There are plenty of stompboxes out there that will take your sound and turn your guitar into more of an electronic noise controller than a true instrument with its own character. Some have so many knobs that you actually spend more time trying to dial in a sound than you do actually playing and creating. The Ibanez TS9 Tube Screamer is neither of these.

It doesn’t change the sound of your guitar all that much at first, and you’ll only be fooling with the gain knob for a minute before hours of endless playing ensue. This is exactly what makes it so good. To be fair, the TS9 does do something subtle to your tone beyond just driving the original signal. It also boosts the mid-level frequencies of your signal so it doesn’t get lost in the mix.

This is one of the main traits that distinguishes it from many of the clones and other self-described transparent overdrives. This nuanced mid-boost is also a reason why many players use it as an “always on” pedal, even when they don’t need much drive at all. Turn down the gain knob and the TS9 still provides a warm boost, giving your tone the presence necessary to hang with other instruments in a live setting.

Settings marked in gaff tape. Bottom plate gaff taped on. Pedal functions without issue. Velcro on bottom.

This may have been Kim's.

There have been few effects ever made to have as much impact on the pedal set as the Klon Centaur. Since its launch in 95' it has become almost mandatory on the pedal boards of the stars and players the world over can't seem to sing its praises loud enough.

It was the Klon that ushered in a new category for OD pedals, the transparent OverDrive. If instead of trying to create a tone with your pedal you are only trying to enhance it, you need transparency.With the gain set to minimal you can dial in an absolutely clean boost which can push an amp to the verge of clipping. From here dialing in the OD it will give you a low to medium gain drive tone that seems to integrate itself into your amp.

The frequency of the tone control is more extended than most pedals and will also shape the midrange so you can voice the pedal to be quite flat or to give it a midrange bite 808 style. For the modern blues players with a leaning towards Texas tone the Centaur has been a revelation becoming the pedal for players who don't like pedals.

Jeezy creezy. This is the one. The effect that Lee used for many years. Marked as #1 on the bottom as this was Lee's go to Klon for many years.. Works without any issue. Serial is beneath velcro on the bottom.

This was Lee's.

The Phase II, made in limited numbers during 1970-71, is a vintage FX guitar unit. It includes a fuzz, a tremolo (Animation), and a voltage-controlled filtering section (Formant Trajectories-Parallel, Counter, and Vowel switches).

The circuit uses only discreet components. A control panel contains seven switches (light/change color) and four sliders which alter several effects, including fuzz, voltage-controlled filters and gating, combined in a box that unfolds to reveal a rocker pedal and four footswitches.

There is nothing out there in today's market that duplicates the animation and filtering possibilities. With some practice, many unusual and unique sounds are possible.

Some of the effects (including the famous "Yoy, yoy" sound) can be heard on tracks by Primus "Pork Soda", Pearl Jam "Binaural", Sonic Youth "The Diamond Sea", "Washing Machine" and Beck's "Cold Brains" intro.

Specifications: - Fuzz (includes voice fuzz) - Animation - FFM, Fuzz RPT or both and Fast/slow start (switches), Alter Intensity and Rate with three sliders. - Voltage-Controlled Filtering - "Format Trajectories": Parallel, Counter, Vowel . - Foot Pedal with Primary and Stereo outputs (Bypass Balance control), Lo/Hi Z inputs (Lo Z Balance control) plus four foot switches: Stereo, Bypass, Animation, Fuzz

Serial: 1029. Powers on. Effects work. Fuzz light does not light up. Dirty. Gaff tape markings per Sonic Youths taste. The sound at the opening of the Diamond Sea on Washing Machine was made with this unit in particular.

Thurston and Lee both had one of these.

The original Maestro MFZ-1 went on sale in 1976 as part of the TFC (Total Foot Control) series that included the equally legendary Parametric Filter, Stage Phaser and Fuzztain.

With design duties ceded to Moog Music, innovation was always going to be high on the agenda; from the novel enclosure design with foot-operated control knobs and the whole pedal exterior acting as bypass switch (imagine a giant Mac mouse!), to the use of then space-age IC op-amps in the distortion circuit. It must have looked very much like the future back in the mid-70s - in a way it was, for the op-amps + clipping diodes in feedback design went on to power countless classic overdrives.

Maybe it was a touch too far ahead of its time, because the MFZ-1 was discontinued in 1978 just two years after it was introduced, making originals relatively scarce and attendantly expensive. You may well be reading this because you've read that the MFZ-1 is an key weapon in Black Keys man Dan Auerbach's considerable fuzzy arsenal; well, if you like that brand of raw garage-bred blues-rock, step this way... [this pedal] is a fuzz with a distinctly overdrive-y character, which means it handles chords (even fairly complex ones) extremely well and has a top-end sparkle and transparency on the treble strings that's good news for slide playing and quite unlike your typical 60s fuzz.

Head on down to the lower registers and you'll find a truly beastly low-end response that'll handle a bass or baritone guitar especially well. Its unusually high (for a vintage design) input impedance means that it works well in front or beind a wah (where most vintage units will oscillate, eat your wah sweep or both). I've heard the MXR Distortion+ (another even earlier op-amp design) described as "a pissed off overdrive", well [this pedal] is a Distortion+ that badly wants to kick something in. Yow.

Functions as it should. Gaff markings. No battery plate.

2 in 1 pedal. Designed specifically for Lee. Functions without issue.

Featuring 6- and 12-stage phasing and controls for sweep, resonance and LFO rate/amount, the MoogerFooger MF-103 12-Stage Phaser is the ultimate tool in exploring uncharted phasing territory. Known for their quality construction and expansive capabilities, the MoogerFoogers have been favorited experimental pedals since the line's inception, and the MF-103 is no exception. This is an ideal pedal for prog, psychedelia, or stoner rock.

Doesn't power on. Gaff taped markings. Appears to have been Kim's for live use.

Used by Kim.

Even when your hands aren't free, you can still unleash your Moogerfooger! Essential for foot control of any Moogerfooger knob-controllable performance parameter.

No Cable. Doesn't work. Sold As-Is.

The Mu-Tron Bi-Phase consists of two independent 6-stage phasor circuits, two sweep generators (oscillators), and a number of unique additional controls to allow maximum flexibility in generating a variety of phasing effects. The Mu-Tron Bi-Phase also offers several convenience features including LED indicators on each phasor, mike stand socket on bottom of housing for above-the-floor mounting, and AC cord storage on back panel.

The unit is furnished with a dual foot switch and has an optical photoelectric foot pedal and provision for synthesizer interface for external control of sweep. And, like all Mu-Tron products, the Mu-Tron Bi-Phase and its accessories are solidly constructed to withstand the most severe professional use.” – From original Musitronics Bi-Phase ad circa 1970s.

Powers on. Does not make effect. Channel A was marked as not working. Channel B unfortunately is not effecting signal either. Gaff tape markings and tone markings on unit. Missing the foot switch.

This was Lee's.

The Blue Box Octave Fuzz drops your guitar signal two octaves down and combines it with gnarly fuzz for huge subterranean tones.

Gaff Marked. Velcro. Works without issue.

Thurston, Lee, and Kim all used the Blue Box extensively.

The Blue Box Octave Fuzz drops your guitar signal two octaves down and combines it with gnarly fuzz for huge subterranean tones.

Gaff taped markings. No sound. No power supply.

Thurston, Lee, and Kim all used the Blue Box extensively.

The MXR Distortion + ("Distortion Plus") is a distortion pedal originally designed in the 1970s by MXR Innovations. As its name implies "distortion," it's a 'distortion' (parallel clipping) but has a rather mild sound. It has been cloned many times, most famously by the DOD 250 Overdrive (a distortion).

Abused pedal. Missing two screws. Velcro. Settings marked. Pedal name scuffed out. Functions without issue

This does have some settings marked, so it may have been used live or in the studio.

The Distortion III delivers everything from sweet singing overdrive to massive distortion crunch.

Works as it should. Tape markings. Otherwise clean.

This does have some settings marked, so it may have been used live or in the studio.

Specially modified circuitry in the Dunlop Jimi Hendrix Octave Fuzz Pedal adds an octave overtone to the fundamental fuzz effect. This gives the unique edge heard on many of Jimi's solos.

The Octave Fuzz Pedal features 2 external control knobs: volume and tone. A red LED indicates when unit is on. Requires AC adapter or 9-volt battery.

In Box. Very lightly used. Works without issue.

Kim and Thurston both used the Octave Fuzz extensively.

Specially modified circuitry in the Dunlop Jimi Hendrix Octave Fuzz Pedal adds an octave overtone to the fundamental fuzz effect. This gives the unique edge heard on many of Jimi's solos. The Octave Fuzz Pedal features 2 external control knobs: volume and tone. A red LED indicates when unit is on. Requires AC adapter or 9-volt battery.

Unit currently has a couple loose jacks. Gaff tape markings. Velcro on bottom. Heavily used but overall works as it should.

Kim and Thurston both used the Octave Fuzz extensively.

Gaff taped markings. Functions as it should. No power supply. This is the Sonic Youth sound in a box.

Kim and Thurston both used the Octave Fuzz extensively.

The Micro Amp allows you to boost your signal with a preset amount of gain up to +26dB.

Works Well. Very clean.

The Phase 90 takes you from subtle, spatial shimmer to all-out high velocity swooshing with the twist of a knob.

Very clean. Functions as it should.

This may have been Thurston's.

With both a Speed control and a 4-waveform Intensity control, the Phase 100 offers a broad range of sounds.

Gaff tape markings. Pedal works with no issue.

This does have some settings marked, I think it was Kim's or possibly Jim's.

The Granith Grey Booster allows a high-quality boost of up to +15dB with minimized switching noise due to BJF engineered circuitry. This booster is able to attain the equivalent S/N ratio of a high-end amplifier.

In order for this to happen, the circuitry was created to fit the frequency range of an electric guitar, which lowers some overtones that could otherwise be present with other boosters.

Works without issue. No power supply.

Functions as it should. Missing a couple of screws on the bottom plate. No power supply.

The Paul Cochrane Tim is a highly shapeable transparent overdrive, with two stages and a separate effects loop. Paul Cochrane has produced the iconic Tim (and the derivative Timmy overdrive) distortion pedal in limited numbers, making them highly sought after.

Battery melted inside pedal. Have that removed. Pedal functions, but could use some repairs and tightening up.

This was used by Lee.

This is a 3-knob Yardbox from Prescription Electronics. They are based on the Tone Bender circuit.

Currently not functioning properly during testing. Sold As-Is.

This does have some settings marked, so it may have been used live or in the studio, possibly by Jim.

The ProCo Model DB1 is a simple passive direct box that offers clean, reliable performance. It can be used for nearly any instrument or signal source, from electric bass, keyboards and drum machines to sub-mixers and external speaker outputs.

Parts rattling around inside.

The Pro Co "The RAT" is a guitar effects pedal produced by Pro Co Sound. The original RAT was developed in the basement of Pro Co's Kalamazoo, Michigan facility in 1978.

Numerous variations of the original RAT pedal are still being produced today. The basic RAT has changed in appearance over the years, but its tone has remained largely the same. Pro Co has also introduced tonal variations of the RAT, including the Turbo RAT and You Dirty RAT, among others. The Pro Co RAT became very popular in the early 1980s, thanks in part to fame gained by its use by several artists.

Gaff taped settings. Battery plate in tact. Works without issue.

This does have some settings marked, so it may have been used live or in the studio.

Featuring an LED display, traditional RAT filter control for nuanced brightness control and double the output of a traditional RAT with 2.8V, the Turbo Rat is the most intense distortion in the RAT family. Designed to slice through a mix when you really want your playing present, this is a natural fit for any metal genre, but also functions well in post-punk and indie rock.

Gaff tape. Gaff taped battery plate. Used and abused. Still functioning with existing battery. Spare #4.

This looks to be Thurston's but the Turbo Rat was a staple Sonic Youth pedal for all members.

The Squeeze Box is one of the industry’s best kept secrets. It is a studio quality optical compressor/limiter living in a stomp box. It looks like a gadget, but don’t judge a book by its cover. It gets used for electric musical instruments for sure, but it also gets used on vocals, drums, piano, and anything else that a studio rack unit would be expected to do.

The really good news is that once you finish in the studio, you can take it with you and have the same studio quality compression at the gig. It goes from transparent to aggressive and back again effortlessly and offers expanded controls to shape your tone. Boasting a super low noise floor, amazing frequency response, and a classic all tube design, you may find yourself hard pressed to find a better opto compressor, rackmount or otherwise.

Serial: S296347E-110. Works without issue. Initially some scratchy pots. Went away with a few turns. Gaff tape settings. Velcro on bottom.

This was used by Lee.

Limited release SIB Electronics Fat Drive Pedal !! Hand made in California USA. This is a truly versatile, boutique PRO custom pedal. All the functionality you expect in a top-tier collectible. This pedal is about as rare as they get.

True bypass Class A compatible. Produced with industrial grade components Blue powdered paint surface Functions exceptionally well with both electric and bass guitar applications. Supports both live and studio settings. Performs well with both direct input and Class A amplification devices. Controls include: Drive Volume Bass Middle Treble.

In terms of sound, there is nothing like this. It has an terrific amount of headroom. You can do anything from clean boost to very saturated distortion.

Serial: 120. Road worn. Works without issue. Settings marked. Includes IEC

This does have some settings marked, so it may have been used live or in the studio.

Functions. Interesting effect. Mix of a vibe and envelope filter.

This is a rare and great sounding bass fuzz from Sitori Sonics. Think big muff with more definition and retained low end.

Works as it should. Clean.

This is a rare and great sounding bass fuzz from Sitori Sonics. Think big muff with more definition and retained low end.

Gaff tape and velcro. Handwritten pedal. Works without issue.

Very interactive controls for a wealth of tones to suit your every whim. Definitely the best way to add a second or third channel to your setup. At lower gain settings, you get a good boost to push that crunchy tube amp over the edge. It's a sustain and tone extravaganza! Mid gain settings give a very dynamic tweedy growl. And of course, crank the gain to the top and thou shalt shred. Be amazed at the dynamic touch sensitivity that is normally only found in the way over-hyped $300 to $500 units... this is the inspirational tone that will keep you playing when you should be sleeping.

The three controls are: Serving (volume), Chocolate (tone), and cream (drive).

Little scratchy. Worked weird when disengaged the first time. Then worked after that. On Kim's board for many years.

This was Kim's.

Tired of the same old delay you've heard on every U2 song since 1985? We are. Introducing the Reel Repeat. Enjoy those fat assed warm delay sounds of the analog units, but with the reliability of a modern unit. As the repeats fade, they loose treble, just like a tape machine.

As you increase the delay time, the sounds get a little grit (like tape running slowly). The pedal can be played like an instrument, Mr. Moog. Bend, Warp, Scream, etc. it's okay, we understand. We do it too.

Prototype unit. Works as it should. Settings hand written.

Slow-Fast controls the speed/rate of the LFO wave that controls the effect.

No battery currently. No PSU draw. Currently non functioning.

This was used by Jim.

The Frostwave Sonic Alienator is a bit-rate/depth reduction device, to add grit, aliasing and distortion to your pristine sounding recordings. Up until now these types of effects have only been availble in plugin form. Frostwave have combined aliasing with built in soft distortion and a true analog filter to create something truly unique.

Unit unfortunately doesn't power on. Sold as-is.

Box is separated. No power supply. Unable to test.

Doesn't work. No information available about this unit.

Gaff markers with notes and settings. Currently not producing sound. Sold As-Is.

This does have some settings marked, so it may have been used live or in the studio.

Clean pedal with no information. 9V Battery only. No identifying brand marks. Couple pots are a little intermittent as you get to 0. Feels like a function of the effect.

The Selector Active A/B switcher box gives you the ultimate control over your instruments and your gear. You can alternate between channels A and B or select both. Send one guitar to two amps or use it the other way around to select between two guitars into one amp.

Whirlwind's patented, state-of-the-art optical switching prevents noise, pops or crackles and no alteration of your tone. Bright LEDs indicate channel status. Plus, it's built tough to handle the rigors of live performance. It runs on one 9V battery or with optional external 9V power supply (T401-ND).

Non functioning. Came marked as such from Sonic Youth.