The Emma Electronic ReezaFRATzitz II overdrive and distortion pedal emulates the distortion characteristics of a real tube amp as faithfully as possible. The second generation ReezaFRATzitz pedal is based on the best-sounding Reeza 1 Emma could find. ReezaFRATzitz added low- and high-frequency controls that give you unprecedented tonal control over the OD pedal. An included Bias knob controls the inner workings of the ReezaFRATzitz pedal from class B (far left) to class A (far right) and anywhere in between. You can alter the signal's harmonic structure to provide a much wider range of tonal options than your standard overdrive-distortion pedal. Class A mode provides smoother clipping ala' Vox AC30 while Class B is more akin to your classic Marshall amp tones. Additional controls for Level, Gain, and the previously mentioned Low and High tone controls fine-tune the Reezafratzitz to taste. An ingenious ReezaFRATzitz circuit is the 'untrue bypass' that at Emma Electronic is known as 'the overlord of the beast.' There are many myths about mechanical true bypass. In a pedal like the ReezaFRATzitz and their PisdiYAUwot, you will want and you will get the 'untrue bypass' circuit.

A unique booster/overdrive pedal, the Onomatopoeia can be used to raise the volume of an instrument to higher or "solo" level. Because of the addition of a Gain control, it can also be used to distort the original signal in the same manner as a tube amplifier when it first begins to overdrive. Also included are a "seesaw" tone control and a saturation knob. The Saturation control has a unique function - before the widespread use of distortion pedals, some guitarists would remove one power tube in order to make their amplifier distort. This knob turned hard left mimics this same type of distortion - turned to the right the pedal amplifies as normal. The Onomatopoeia offers a wide range of tonal colors from clean level boost to seething, sagging saturation worthy of the grungiest garage band. Its full frequency response makes the OM-1 perfect for Bass as well as Guitar.

The 2nd generation ReezaFRATzitz is now in production. Based on the best sounding Reeza 1 we could find, we added low and high frequency controls that give you unprecedented tonal control over the pedal. The Reeza II is a unique type of overdrive/distortion pedal that was designed to emulate as faithfully as possible the distortion characteristics of a real tube amp. With the inclusion of a bias control the user is allowed to adjust the inner workings of the pedal from class B (far left) to class A (far right) and anywhere in between, altering the harmonic structure of the signal and providing a much wider variety of tonal options than your standard OD/dist. pedal. Class A mode provides a smoother clipping ala' Vox AC30 while Class B is more akin to your classis Marshall Amp tones. Additional controls for Level, Gain, and the previously mentioned Low and High tone controls allow the user to fine tune the Reezafratzitz to taste. Also added is the ingenious circuit: 'untrue bypass' that at Emma electronic is known as 'the overlord of the beast'. There are many myths about mechanical true bypass. In a pedal like this and the coming PisdiYAUwot, you will want and you will get the 'untrue bypass' circuit.

One thing we think that no one has really nailed yet, is a great pedal for metal. Most of them seem to be either too muddy or too slow for the really fast riffs. We thought that we needed to build a distortion pedal that had a low end punch that resembles beating sheet metal with a big hammer. We also wanted a pedal that was able to scoop the mids the Dimebag way and to push up the mids the NuMetal way. Full mids with body that is.We worked really really hard on achieving this, and we've done stuff that no one has done befor e in a distortion pedal, doing things that are considered politically incorrect, in engineering terms. But we did it anyway - why? Because it worked! We don't care about specs and fine numbers. We care about music and musicians. Because we are musicians ourselves, we know what you guys are talking about.We absolutely think we got this one right. It kicks major butt, and has surprised everyone we played it for . If you are into metal or at least into heavy riffing rock, this is a must hear. I'm not a metalplayer myself, but I have to have my daily fix of the PisdiYAUwot.By the way, the name PisdiYAUwot. What does it mean Angus Podgorny? It sort of means a 'contraption' - with the difference that this is a contraption that actually does work!

Classic overdrive, with all the nuances and character of your original guitar tone.

One thing we think that no one has really nailed yet, is a great pedal for metal. Most of them seem to be either too muddy or too slow for the really fast riffs. We thought that we needed to build a pedal that had a low end punch that resembles beating sheet metal with a big hammer. We also wanted a pedal that was able to scoop the mids the Dimebag way and to push up the mids the NuMetal way. Full mids with body that is. We worked really really hard on achieving this, and we've done stuff that no one has done before in a distortion pedal, doing things that are considered politically incorrect, in engineering terms. But we did it anyway - why? Because it worked! We don't care about specs and fine numbers. We care about music and musicians. Because we are musicians ourselves, we know what you guys are talking about. We absolutely think we got this one right. It kicks major butt, and has surprised everyone we played it for. If you are into metal or at least into heavy riffing rock, this is a must hear. I'm not a metalplayer myself, but I have to have my daily fix of the PisdiYAUwot. By the way, the name PisdiYAUwot. What does it mean Angus Podgorny? It sort of means a 'contraption' - with the difference that this is a contraption that actually does work!

We wanted to make a great 'classic' overdrive that has the best of what's out there, but keeps the body and character of the guitar intact. We worked really hard on the Emma Stinkbug getting the mids to respond well, and the highs and lows to be right for blues rock and pop. We also chose a circuit that has particularly nice warmth to it.The low and high controls gives a great control of the amount of mids in the Emma Stinkbug. Turn them both down, and the mid-range comes out, but without being nasal. Turn them up, and the mids gets slightly scooped, still keeping the sound full and punchy. The Emma Stinkbug works great for blues, pop and rock. It sings well and has great mid-range response.

This rugged metal contraption will boost your metal sound to daunting new heights.

A unique booster/overdrive pedal, the Onomatopoeia can be used to raise the volume of an instrument to higher or "solo" level. Because of the addition of a Gain control, it can also be used to distort the original signal in the same manner as a tube amplifier when it first begins to overdrive. Also included are a "seesaw" tone control and a saturation knob. The Saturation control has a unique function - before the widespread use of distortion pedals, some guitarists would remove one power tube in order to make their amplifier distort. This knob turned hard left mimics this same type of distortion - turned to the right the pedal amplifies as normal. The Onomatopoeia offers a wide range of tonal colors from clean level boost to seething, sagging saturation worthy of the grungiest garage band. Its full frequency response makes the OM-1 perfect for Bass as well as Guitar.