LiberaToe Pedal & Module
G1. Luther Overdrive (PF021) Limited Edition
Luther Overdrive is an analogue overdrive that is capable of replicating various tones, from Legend Rock and Compressed Classic Combo Amplifier, to Jazz & Blues tones. Two separate channels produce five different tones, composed of those from representative amplifiers - M*, F*, D*, and Vaughan, the Southern Blues tone created by the combination of Tube Screamer and special tuning. Each channel contains a set of "level, tone and drive", enabling you to customize your sound, such as backing or solo play. The red channel is fitted with a crunch knob, allowing precise control of the crispness of the tone within the mid- to high-pitch ranges. With Luther Overdrive, you can express a variety of tones across a wide texture range. While a typical overdrive adjusts the entire signal with only a tone knob, Luther Overdrive adjusts the crunch knob to control the mid-range gain while keeping it tight, to remove any flabby low end. You can create the desired level of crunch from prettily crushed high-end to a punchy middle tone.
Luther Overdrive is recommended as a versatile drive for those who want a fine amount of coarse grain, a solid tone in the low end, to enhance one's backing and solo tone, or those who want to create a wide variety of tones on a smaller pedal board. In fact, Luther Overdrive is ideal for anyone who plays classical rock, jazz and blues.
G2. Camus Overdrive (PF081)
Camus Overdrive is a state-of-the-art classic overdrive reincarnation, featuring new technologies that help deliver a full range of tones. In addition to levels, there are two sets of gains and tones, so you can instantly select two channels while playing, e.g., self-overdrive gain with higher gain or low gain setting to boost other overdrives or distortions. Therefore, Camus Overdrive is able to act as two overdrives integrated into an A/B loop. Furthermore, the Rawk knob is equipped to complement the bass response gracefully, which often is lacking in vintage gear. Fat toggles also can be assigned to each channel, providing the best performance and function in the overdrive and boost series with a high headroom.
Camus Overdrive is recommended for those who want to use the two channels for different purposes, so that they can be used as a boost as well as a sole overdrive having high headroom, for those who want to select the Fat tone in any case where both channels are used.
G3. Fire Sword Distortion (PF091)
Fire Sword Distortion replicates a self-distortion effect that occurs when a large tube power amplifier and speaker box output are at high volume. To emulate the amp distortion tone generated by total 7 tubes of the pre-amplifier and the power amplifier, devices with the closest characteristics for each tube are selected without the clipping element. Thus, depending on the dial, Fire Sword Distortion has superior performance compared to an overdrive that has only a few real tubes. The advantage of reproducing the tube's characteristics is unlike normal distortion, in that it can extract near-clean textures at low gain, thus allowing the two channels to act like completely different effects. Equipped with the unprecedented middle knob that simply replaces three TMB knobs to hump or scoop the tone, Fire Sword Distortion can digest a variety of genres, including Blues, Hard Rock and Classic Metal. The combination of the middle knob and toggle switch allows you to produce a wide range of gain and tone, from almost clean to the very saturated.
Fire Sword Distortion is recommended for those who like tube-like gain that doesn't get buried by other instruments, who play hard rock and blues or funk, funky, for those who want to pull back and solo through the middle adjustments, and those who want to create diverse tones while maintaining a small pedal board.
G4. MonkHawk Overdrive (PF101)
MonkHawk Overdrive is specialized in Blues and Hard Rock. The crunch tone, which occurs naturally in the clean channel of a tube amplifier without its own gain channel, is implemented in analog to add the unique crispy voice of the Blues tone, while preserving the sound quality of the guitar. Like other products in the LiberaToe series, it supports dual channel, therefore two sets of level, tone and gain can be used for various purposes, such as backing and solo. The boost control also can be adjusted in order to boost the frequency of the high pitch range or across the entire frequency range. With the combination of optional boost features and the toggle switch, you are able to choose from 4 types of gain tones on the two channels.
MonkHawk Overdrive is recommended to all of those who want to create a wide variety of tones on a small pedal board, for those who like soft grainy gain, for those who play blues and jazz, and for those who want to access to two channels out of a combination of four tones and including boost.
G5. Wrecker Valve Distortion (PF121)
Wrecker Valve Distortion is a high-gain distortion that faithfully simulates the modern high-gain drive of amplifiers that have emerged after the classic Marshall. High gain is recreated with a punchy drive character, excluding the usual high gain drive's fuzz-like propensity. Middle and Presence knobs are added to the green and red channels respectively, allowing you to set different tones for each channel. For example, you can scoop the middle in the green channel to use it as a backing channel or create a hump to create a solid lead tone. In the red channel where the middle is fixed at full, with the Presence knob adjusting the high end according to the treble characteristics of the amplifier, you can create an impressive middle tone. The Bass knob has a special extra feature that can be set after 4 o'clock to provide extreme emphasis on the lowest bass band for high-gain use.
Wrecker Valve Distortion is recommended for those who love the weight of metal and high gain of dense grain, who want to play different backing and solo instantly, and for those who want to create various sounds on a small pedal board.
G6. Blue Crow Overdrive & Distortion (PF151)
Blue Crow Overdrive Distortion Combination is a twin channel effects that integrates classic overdrive and vintage distortion. It includes an overdrive that acts like a preamp inside a large tube amp head, and a distortion that acts like a power amp that produces a tenacious break-up through massive output. Blue Crow not only acts as an overdrive for the amp’s dirty channel, but also utilizes its own crunch gain to faithfully reproduce the overdrive's inherent peaking dynamics and boost the built-in distortion behind it. The mid-high gain vintage distortion perfectly expresses the rock spirit of the 70s and 80s, providing a wide range of driving sensations, from crisp to creamy tones, thanks to the high headroom from 18V. On low and high presence setting for large amplifiers, or relatively high presence setting for small amplifiers, the tone can be balanced to produce a wider distortion in the British amplifier itself.
When the toggle is turned up, the LEVEL and BOOSTED functions of the distortion can be set independently, for example, each for the backing and lead volumes. In other words, on the red channel, overdrive and distortion are stacked similarly to the overdrive pushing the amplifier. This method is used to minimize the gain of the overdrive together with the appropriate DIST level, or to reduce the DIST of the distortion slightly and increase the gain of the overdrive.
Thus Blue Crow is a versatile analogue effect with 3 usages - boosted distortion, as well as overdrive and distortion, a revelatory improvement from the single effect to provide you with thick and powerful gain.
G7. Darwin Overdrive (PF161)
Darwin Overdrive is a top touch-sensitive overdrive. Like other products of the LiberaToe series, dual channel is provided, each fitted with gain and level. The middle knob on the green channel allows you to vary the tone of middle range. The Treble knob delivers strong impression in the high-pitch range, unlike the fragile high notes of conventional pedal-type drive. Additionally, the DeFAT knob can be used to create muscular gain so as to eliminate the fuzzy side effect at the bottom. As a result, together with Presence knob, you have two additional fine-tune methods, both high- and low- end.
Thanks to the ample headroom created by the internal 18V power supply, the solidity of the gain is nearly identical to that produced by a legendary tube amplifier, loved by the minimal guitarist, even when it is used with a typical clean channel amplifier. Together with its dual channel capability, you now can enjoy a performance which is as good as a specialized high-gain amplifier.
G8. Iron Rod Distortion (PF181)
Iron Rod Distortion is a dual-channel distortion that simulates the classic SL model of a well-known British amp. The internal 18V high headroom creates a powerful distortion texture, as if it is being created by the excess of the tube pre-amp and power amplifier. The Treble knob can be used to adjust the high-end frequencies to deliver lucidity. As it is equipped with two Tones, so as to be set differently per channel, it is useful for multiple play requirements, including lead and backing.
Because the Iron Rod Distortion embraces picking nuance vividly, the tones are between grittiness and steel texture. Your strings will sound as though they are of a special gauge, since the Iron Rod has a specialized circuit that operates similarly to that of an amplifier's multiple stages of tubes that reproduce an amplifier’s crank-up tone.
G9. Boostequila Boost & EQ (PF221)
Boostequila Boost EQ is the dual channel boost & equalizer you need. If you've experienced your tone getting buried among other players in mid and high ends, then with Boostequila you can make your sound prominent without increasing the volume that may sometimes break the balance of your band. Boosting the mid can help output a punchy tone while increasing mid frequencies to produce a growl-like sound by pushing the amplifier. In opposite, reducing the mid frequencies while boosting the low-mid and upper frequencies help to create both fat and crisp textures. In this case, although the low end is emphasized, you can achieve a clear tone while generating full harmonics. The TREBLE controls are special, in that they make high notes not too thin nor too harsh, which are common with typical treble settings on boost pedals.
Boostequila Boost EQ instantaneously transforms between sparkling single coil and thick-sounding humbucker, depending on the adjustment of TMB combination. Thanks to the monstrous volume, Boostequila can act as an active EQ boost, helping the opulently level-up of frequencies produced by your guitar.
G10. Lost Gerbil Distortion & Overdrive (MF261)
Lost Gerbil is a combination of the most famous vintage distortion and a representative vintage overdrive, both coincidentally released in 1979. It features a dual-channel design that allows for independent or stacked use of the front-end Overdrive expressing tube break-up characteristics with elastic mid range, and the rear-end Distortion offering a wide gain texture.
The Distortion section is equipped with two toggles that allow for diverse combinations of gain characteristics, offering a choice of four gain textures. The left horizontal toggle allows selection between Silicone or Germanium-simulated, while the vertical toggle (Ls and As directions) provides a choice between two clipping methods. Silicone gain delivers a fresh distortion texture reminiscent of creamy lager, while Germanium-simulated gain provides a texture matured for decades in an oak barrel (Germanium-simulated requires Level set at 4 o'clock or higher). In Silicone gain, you have the option to choose between Symmetrical or Asymmetrical clipping, and with Germanium-simulated gain, you can select between two saturation, offering versatility to pick the desired texture for various situations. Moreover, the Distortion section features a distinct stack level, allowing for different level settings beyond stand-alone use.
The Overdrive section, in addition to the existing 3 knobs (Vol, Tone, Gain), includes a Mid trimmer for creating a wide range of tones. Turning it counterclockwise emphasizes frequencies above 2.8kHz (modern tone), while turning it clockwise allows emphasis on the entire midrange spectrum (vintage tone). The Mid trimmer, which allows selection of the emphasized mid range band, is useful not only when used independently but also when boosting other drive effects behind it, aiding in creating the desired tone. Moreover, with twice the gain range compared to the predecessors, it can express a variety of textures when used independently.
The G/R selection toggle at the bottom allows the Distortion and Overdrive to be used in each green channel and red channel, while placing the toggle at the top separates the Distortion and Stack for use in each channel.
Power Requirement: 9V Center negative DC9V, Current draw 120mA (Pedal power only, No battery use)
Dimensions: 5.2“x3.15”x5.17“/13.2x8x5.5cm (Excluding foot switch)
Weight: 0.94lbs / 440g
Input Impedance: 1M / Output Impedance: 1k