What pedals did Apple model their pedalboard after?

Candy Fuzz

A bright, “nasty” distortion effect. Drive controls the input signal gain. Level sets the effect volume.

Double Dragon

A deluxe distortion effect. It offers independent level controls for input (Input) and output (Level). Drive controls the amount of saturation applied to the input signal. The Tone knob sets the cutoff frequency. The Squash knob sets the threshold for the internal compression circuit. Contour sets the amount of nonlinear distortion applied to the signal. Mix sets the ratio between the source and distorted signals. The Bright/Fat switch changes between two fixed high shelving filter frequencies. Blue and red LEDs indicate each switch position, respectively.

Fuzz Machine

An American “fuzz” distortion effect. Fuzz controls the input gain. Overall output gain is set with Level. The Tone knob increases treble, while simultaneously rolling-off low frequencies, as you move it to higher values.

Grinder

Grinder is a lo-fi, dirty “metal” distortion. Grind sets the amount of drive applied to the input signal. Tone is controlled with the Filter knob, making the sound harsher and more crunchy at higher values. The Full/Scoop switch alternates between two fixed Gain/Q filter settings. At the Full position, filtering is less pronounced than at the Scoop position. Overall output level is controlled with the Level knob.

Happy Face Fuzz

A softer, full-sounding distortion effect. Fuzz sets the amount of saturation applied to the input signal. Volume sets the output level.

Hi-Drive

An overdrive effect that can emphasize high frequency content in the signal. Level controls the effect output. The Treble/Full switch sets a fixed shelving frequency, allowing either the treble portion or the full range input signal to be processed.

Monster Fuzz

A saturated, somewhat harsh distortion. Roar sets the amount of gain applied to the input signal. Growl sets the amount of saturation. Tone sets the overall color of the distortion. Higher Tone values increase the treble content of the signal, but there is a corresponding decrease in overall volume. Texture can smooth out or roughen up the distortion. Grain sets the amount of nonlinear distortion applied to the signal. The effect output is controlled with the Level knob.

Octafuzz

A fat fuzz effect, that can deliver a soft, saturated distortion. Fuzz controls the input gain. Level sets the ratio between the distorted and source signals. The Tone knob sets the cutoff frequency of the highpass filter.

Rawk! Distortion

A metal/hard rock distortion effect. Crunch sets the amount of saturation applied to the input signal. Output gain is set with Level. Tonal color is set with the Tone knob, making the sound brighter at higher values.

Vintage Drive

Overdrive effect that emulates the distortion produced by a field effect transistor (FET), which is commonly used in solid-state amplifiers. When saturated, FETs generate a warmer sounding distortion than bipolar transistors (such as those emulated by Grinder). Drive sets the saturation amount for the input signal. Tone sets the frequency for the high cut filter, resulting in a softer or harsher tone. The Fat switch, when at the top position, enhances lower frequency content in the signal. Level sets the overall output level of the effect.

Heavenly Chorus

A rich, sweet-sounding chorus effect that can significantly thicken the sound. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. Feedback sends the output of the effect back in to the input, further thickening the sound, or leading to intermodulations. Delay sets the ratio between the original and effect signals. The upper Bright switch position applies a fixed frequency internal EQ to the signal. At the bottom position, the EQ is bypassed.

Phase Tripper

A simple phasing effect. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. Feedback determines the amount of the effect signal that is routed back into the input. This can change the tonal color, can make the sweeping effect more pronounced, or can do both.

Phaze 2

A very flexible dual-phaser effect. LFO 1 and LFO2 Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. Ceiling and Floor determine the frequency range that is swept. Order switches between different algorithms, with higher (even) numbers resulting in a heavier phasing effect. Odd order numbers result in more subtle comb-filtering effects. Feedback determines the amount of the effect signal that is routed back into the input. This can change the tonal color, can make the phasing effect more pronounced, or can do both. Tone works from the center position; turn it to the left to increase the amount of lowpass filtering, or turn it to the right to increase the amount of highpass filtering. Mix sets the level ratio between each phaser.

Retro Chorus

A subtle, vintage chorus effect. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect.

Robo Flanger

Flexible flanging effect. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. Feedback determines the amount of the effect signal that is routed back into the input. This can change the tonal color, can make the flanging effect more pronounced, or can do both. The Manual knob sets a delay time between the source and effect signals. This can result in flanger-chorus effects, or in metallic-sounding modulations, particularly when used with high Feedback values.

Roswell Ringer

A ring modulation effect that can make incoming audio sound metallic (or unrecognizable), can deliver tremolos, brighten up signals and more. The Freq knob sets the core filter cutoff frequency. Fine is a fine tuning knob for the filter frequency. The Lin/Exp switch determines if the frequency curve is linear (12 notes per octave) or exponential. FB (feedback) determines the amount of the effect signal that is routed back into the input. This can change the tonal color, can make the effect more pronounced, or can do both. Balance between the original and effect signals is set with the Mix knob. See Ringshifter for background information on ring modulation.

Roto Phase

A phaser effect that adds movement to, and alters the phase of, the signal. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes) with the Rate knob. Intensity sets the strength of the effect. The Vintage/Modern switch activates a fixed-frequency internal EQ when switched to Vintage, and deactivates it when switched to Modern.

Spin Box

Emulation of a Leslie rotor speaker cabinet, commonly used with the Hammond B3 organ. Cabinet sets the type of speaker box. Fast Rate sets the maximum modulation speed (only applies when Fast button is active). Response determines the amount of time required for the rotor to reach its maximum and minimum speed. Drive increases the input gain, introducing distortion to the signal. The Bright switch activates a high shelving filter when turned on. The Slow, Brake and Fast buttons determine how the “speaker” behaves: Slow rotates the speaker slowly. Fast rotates the speaker quickly (up to the maximum speed determined by the Fast Rate knob). Brake stops the speaker rotation. See Rotor Cabinet Effect for background information on the Leslie effect.

Total Tremolo

A flexible tremolo effect (modulation of the signal level). Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. Wave and Smooth work in combination to alter the waveform shape of the LFO. This enables you to create floating changes in level, or abrupt steps. Volume determines the output level of the effect. The 1/2 and 2 x Speed buttons immediately halve or double the current Rate value. Hold down the Speed Up and Slow Down buttons to gradually accelerate or reduce the current Rate value to the maximum or minimum possible values.

Trem-o-Tone

A tremolo effect (modulation of the signal level). Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. Level sets the post-tremolo gain.

the Vibe

A vibrato/chorus effect based on the Scanner Vibrato unit found in the Hammond B3 organ. You can choose from three vibrato (V1–3) or chorus (C1–3) variations with the Type knob. Rate sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Depth sets the strength of the effect. See Scanner Vibrato Effect for background information on this effect.

Blue Echo

A delay effect. Time sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). The Repeats knob determines the number of delay repeats. Mix sets the balance between the delayed and source signals. The Tone Cut switch controls a fixed frequency internal filter circuit that allows more low (Lo) or high (Hi) frequency content to be heard. You can also disable this filter circuit by choosing Off.

Spring Box

A spring reverb pedal. Time sets the length of the reverberation to short, medium, or long values. Tone controls the cutoff frequency, making the effect brighter or darker. Style switches between algorithms, each with different characteristics. You can choose from: Boutique, Simple, Vintage, Bright, and Resonant. Mix sets the ratio between the source and effect signals.

Tru-Tape Delay

A vintage tape delay effect. The Norm/Reverse switch changes the delay playback direction. Reverse mode is indicated by a blue LED and Normal mode is indicated by a red LED. Hi Cut and Lo Cut activate a fixed frequency filter. Dirt sets the amount of input signal gain, which can introduce an overdriven, saturated quality. Flutter emulates speed fluctuations in the tape transport mechanism. Time sets the modulation speed and can run freely, or be synchronized with the host application tempo by enabling the Sync button. When synchronized, you can specify bar, beat and note values (including triplets and dotted notes). Feedback determines the amount of the effect signal that is routed back into the input. The buildup of repeating signals can be used creatively for dub-delay and other effects by adjusting Feedback in real time. Mix sets the balance between the source and effect signals.

Auto-Funk

An auto-wah (filter) effect. Sensitivity sets a threshold which determines how the filter responds to incoming signal levels. Cutoff sets the center frequency for the filter. The BP/LP switch enables either a bandpass or lowpass filter circuit. Signal frequencies just above and below the cutoff point are filtered when the BP switch position is chosen. When the LP switch position is active, only signals below the cutoff point are allowed through the filter. The Hi/Lo switch chooses one of two preset (filter) resonance settings. The Up/Down switch activates a positive or negative modulation direction (the “wah” filtering occurs above or below the source signal frequency).

Classic Wah

A funky wah effect, straight from 1970’s TV police show soundtracks. You control it by dragging the pedal.

Modern Wah

A more aggressive wah effect. You control it by dragging the pedal. Mode enables you to choose from the following: Retro Wah, Modern Wah, Opto Wah 1, Opto Wah 2, Volume. Each has a different tonal quality. The Q knob determines the resonant characteristics. Low Q values affect a wider frequency range, resulting in softer resonances. High Q values affect a narrower frequency range, resulting in more pronounced emphasis.

Squash Compressor

A simple compressor. Sustain sets the threshold level. Signals above this are reduced in level. Level determines the output gain. The Attack switch can be set to Fast for signals with fast attack transients, such as drums, or to Slow for signals with slow attack phases, such as strings.

Mixer

A utility that is used to control the level relationship between Bus A and Bus B signals. It can be inserted anywhere in the signal chain, but is typically used at the end of the chain (at the extreme right of the Pedal area). See Using Pedalboard’s Routing Area for details on use. The A/Mix/B switch solos the “A” signal, mixes the “A” and “B” signals, or solos the “B” signal. The level setting of the Mix fader is relevant for all A/Mix/B switch positions.

In stereo instances, the Mixer utility also provides discrete Pan controls for each bus.

Splitter

A utility that can be inserted anywhere in the signal chain. Splitter can be used in two ways;

When set to Freq, it works as a frequency-dependent signal splitter that divides the incoming signal. Signals above the frequency set with the Frequency knob are sent to Bus B. Signals below this frequency are sent to Bus A.

When set to Split, the incoming signal is routed equally to both buses. The Frequency knob has no impact in this mode.

See Using Pedalboard’s Routing Area for details on use.