• A full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument and microphone compatibility.
• The Gain section controls the overall volume of the unit, the a of gain between the two internal gain stages, and the gain of each preamp stage in five stages.
• Using the new Hi/Lo switch, get ultra clean sounds without breakup when distortion is not needed or achieve a broad spectrum of overdrive, distortion, and fuzz sounds.
• A -20dB pad switch on the right side of the unit tame the volume for high output microphones when in XLR input mode.
• The new Shift knobs in the EQ section adjust the range of frequencies that the Treble, Middle, and Bass knobs control to give you precision control over the EQ.
• The Hi-Pass section spans from 60Hz to 800Hz with a 6dB per octave slope.
• Offers 100% clean signal even on acoustic guitar, silent sw to eliminate "switch-pop", and passing phantom power to condenser mics.

In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects Pedal that replicated The hard to achieve sounds of "direct-in" Electric guitar s that I loved. Bands like the Beatles, Spoon, Wilco, and Steely Dan had used This technique for years, but it was nearly impossible to recreate live. I wanted this pedal to transform My guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined. In 2014 as we filmed the first demo videos at Abbey road studios in London and this Idea had evolved into the most unique product we had ever made. The color box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted It to do, but it did so much more! On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, We saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the color box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of s from U2, Wilco, Beck, Mac demarco, St. Vincent, the National, Spoon, Collective soul, muse, to War on Drugs, foot fighters, and phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott The color box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/lo switch for massive clean headroom, and the ability to pass Phantom power to your condenser mics. The most significant improvements are: addition of an output transformer safely passes 48V phantom power EQ shift knobs for precision EQ control Hi/LO switch for ultra clean headroom 100% Available clean signal even on acoustic guitar silent sw, Aka no "switch-pop" Runs on standard 9V DC neg power let's take a look at the features and controls of the color box V2. The gain section in red has three controls: master, pre-vol, and step. The Master volume controls The overall volume of the unit. The pre-vol controls the a of gain between the two internal gain stages. This acts as a "drive" Or "gain" Control, adding more grit, distortion, and even fuzz as you increase the gain. The step control increases the gain of each preamp stage in five stages. Rotating the step knob from Left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB. The color box V2 has a new Hi/ LO switch to control the a of clean headroom you have available. In the Lo mode, you will easily be able to get Ultra clean sounds without breakup. Lo mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the color box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds. In addition to the Hi/ LO gain switch, there is a -20dB pad switch on the right side of the color box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones. The EQ section in blue has three new Shift controls correlating to its standard treble, middle and bass controls. The shift knobs adjust the range of frequencies that the treble, middle, and bass knobs control. The center frequencies for the shift knobs are treble 10kHz, middle 1kHz, and bass 120Hz, while the treble, middle, and bass knobs boost or cut with +/- 17dB of control. If you want to boost high-mid frequencies, turn the mid shift knob to 3 o'clock or above and increase the middle knob above 12 o'clock. If you want to cut upper treble frequencies, turn the treble shift knob to 3 o'clock or above and set the treble knob below 12 o'clock. The shift knobs give you precision control over the EQ for anything you put through the color box V2. The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob, which spans from 60Hz to 800Hz with a 6dB per octave slope. The color box V2 has a combination XLR and 1/4" Input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR. The color box runs on standard 9V DC negative power and measures 5. 7” x 3. 75” x 1. 85".