Asheville Music Tools offers a 1 year warranty to the original purchaser of all our products to be free of faults or defects. At our discretion, we may extend this warranty for any materials, design or workmanship issues that arise beyond one year. Simply contact us through the Warranty & Repair form, linked above. Pedals under warranty will be repaired for no charge. Normal wear and tear, environmental damage, damage from misuse, user modifications, or the wrong power supply are not covered under this warranty and will be repaired for a nominal fee and return shipping.

Asheville Music Tools will refund your purchase for any reason within 14 days of receipt. Simply send it back to us and tell us the reason for return and we will refund your purchase. Be sure to include your name, address and original order number with your return. If your purchase is returned in resalable condition, or due to a defect or error, we will refund 100% of your purchase price, minus shipping (unless there was an error on our part). If the item shows signs of wear or is not in resalable condition you may be charged a restocking fee. Damage such as use of Velcro adhesion, damage to labels, enclosure or knobs exceeds nominal wear and tear. In this case we advise seeking the used pedal reselling market.

Asheville Music Tools makes every effort to ship your order within 7 days of purchase when the product is in stock, however as a small company it may sometimes be slightly longer. Tuesdays are our current standard shipping day. If there will be shipping delays beyond 7 days, we will do our best to let you know up front at the time of sale. We are a small company with a small shipping department and so are not able to ship daily at this time.

Yes. We currently ship via USPS Priority Mail International or UPS depending on the country of receipt. Rates are $35 USD to Canada and $45 USD for the rest of the world. We are currently working on some lower cost and UPS international shipping options for later in 2025. It takes 5-14 days on average to ship internationally. Please note that international customers assume responsibility for any applicable import and duty fees, and these may vary.

Asheville Music Tools is a small growing company. We are continually working to improve our materials stock and better understand our customers’ needs and our stocking requirements. We currently have ongoing production and try for regular monthly releases. Please understand that evolving world events such as Covid, EU regulatory changes, international relations, or other political events or disasters can create disruptions in the supply chain and disrupt availability. We are doing our best to plan, order and work around these issues.

Check the Dealers tab above! We are adding more dealers regularly. If your favorite shop doesn't carry our products, please have them get in touch.

AMpT is committed to supporting our local community. Our products are designed and assembled right here in the mountains of Western North Carolina. Whenever possible we use local or regional vendors to reduce unnecessary shipping impact and provide local jobs and opportunities. We currently use a local metal, paint and printing fabricator, a local PCB assembly house, local printers and other local vendors where possible. We also make the best decisions we can to use lower impact supplies like unbleached “craft” boxes, avoid conflict materials like tantalum, and reuse our packaging and transportation materials in order to be as resource friendly as possible.

We could tell you but then we would have to kill you. 

Seriously though, we are dedicated to Analog and Digitally controlled analog tools for musicians with a focus on modulation effects. Stay tuned for announcements when we have them to make.

Our sister company, Hypertriangle, helps select clients bring products to market, assisting in manufacturing and supply chain logistics. If you would like help, with your already developed product, please message us as we can talk about helping you through manufacturing, fulfillment and related needs. We also offer design and support for select clients. We are a services for hire contractor and do not offer design work for spec or for potential future royalties from new companies or are interested in funding your ideas at this time.

Our Analoger series of pedals are 100% analog, including all control voltage generation and logic. Even the clock system for the BBDs is analog. This is what gives the modulation such a smooth, flowing feel and incredible modulation. Tap tempo however is a digital function, and to execute it would require a digital clock and digital modulation. This would change from a continuous movement of the clock to a series of small steps. It is our belief that this would be a different product with a very different sonic signature and modulation.

So in short, there will not be a tap tempo option for any Analoger series of pedals from Asheville Music Tools. That said, we know the features available with digital control are sought after by some players and intend to design a hybrid digitally controlled analog series of effects at some point in the future. There is no date or timeline currently for a hybrid line of products.

If you wish to have real time player control over the tempo of the delay or the LFO then we advise to use an Expression Pedal with the EXP input. Using an expression pedal and setting the EXP control to the feature you wish to adjust (either TIME or LFO RATE) you may use your foot to dial in the tempo to that which you are playing at. An expression pedal with a 2nd range pot may make this control easier. We recommend a 50k Synth style TRS expression pedal with range control for this use as some of the guitar focused expression pedals do not have the control range or high impedance of the synthesizer based units.

This is one of my most asked questions. I’m honored you like the sound of our drive circuits. To be honest, the drive circuits I have designed for AMpT and other companies are simple circuits. The circuits and the way we add variable gain and negative feedback are unique, but we considered them a utility add-on, and I didn’t think they added that much of a characteristic sound on their own. It was never a large focus of my designs. So, the reception to my drive circuits has caught me off guard as I consider myself a modulation pedal designer, not a drive pedal designer.

Clearly, however, the public has spoken, and there is indeed some special magic in there that y’all are hearing and enjoying. I hear you loud and clear that I will need to release a drive pedal at some point, though when I am not sure. Until then, I am taking the time to assess what that would be. First, what I can contribute to the very saturated drive market? Second, what exactly is unique or desired in my drive circuits to put in a standalone pedal? My drive designs are usually coupled heavily with compandors, BBDs, filters, EQ and other circuits. So, is it really the drive you enjoy, or is it the way it interacts with those other circuits? Until I have a better understanding of this and feel I have something unique to contribute, I’ll keep pondering it. Until then, let us know what you would like to see in an AMpT drive pedal. We have thought about EQ, companding, expression boost control, and different AMpT pedal modes. If you have any good ideas, we invite you to pass them along.

In the meantime, please do check out our sister company Electronic Audio Experiments for their extensive line of pedals in this family.

https://www.electronicaudioexperiments.com/

Technically, there are no sonic difference between the two products. It’s the same design, just with an added BBD and insert loop (that we designed to be transparent). That said, adding a 3rd BBD will add a little more noise to the circuit and may roll off a little more high end as it is going through more BBDs. In shorter delay times you may hear this roll off, and in longer delay times you may hear this noise. In addition to this, all BBDs exhibit a loss of high end as the delay time is stretched to the last of its usable range.  For this reason, if you tend to use your ADG-1 in the 550-700ms range, you will find that you do not need to use the time knob as far to the right to get the same delay for the ADG-1 SE. In this way you are not pushing the BBDs as far a delay time and you may hear a little more clarity and high end in this time settings. There are no sonic effect differences in single Bucket mode (switch up).

Our pedals are 100% analog and are intended for traditional mono guitar use.

This makes it very hard to be stereo as it would require duplicating most circuits, doubling the cost for a situation that most users do not require. This is especially true for BBD circuits where the cost of the BBDs, filters, and compandors is very high and duplicating them would be a size and price issue in that form factor. We do have a significant number of users who have purchased two units to use as a stereo, or dual mono, pair.

We may explore ways to split a multi BBD product into half time, but stereo for future digital hybrid products at some later time but there are no current plans for this.

Our Analoger series of pedals requires a standard “guitar effects” REGULATED 9V 2.1mm x 5.5mm CENTER NEGATIVE power supply capable of 300mA or greater. There are many options available, each with different trade-offs. For simple use, with an easily available option, Asheville Music Tools recommends the Truetone One Spot power supply. Since our products use an internal regulation and step up voltage scheme you should NEVER use a higher voltage power supply with our products and doing so will make no improvements to performance and may damage your unit. See Hawker’s blog post for more details.

Are you in Trails mode? In trails mode only the signal currently in the buckets is sent out. New sound does not enter the buckets as the existing delay “trails” out. Either press the tails switch or remove the rear cover of your pedal and switch it from Trails to Mod Kill mode to remove this feature.

Trails mode works a little differently on the ADG-1 than some other pedals. After selecting Trails mode with the internal switch (see manual). The left footswitch still controls bypass. The right foot switch controls “live” vs trails mode. When the right footswitch is engaged new sound enters the buckets/delay and everything works as normal, but when disengaged no new sounds enter the delay chain. The buckets only play what was already in them. This is trails mode.  In this mode you will hear your dry sound and only the notes you played before disengaging engaging the switch. In this way you can still create a fully bypassed sound as well as a spill over sound.

Is the EXP switch set to Time with no expression pedal connected? If so this will only give you half the delay time. This is because the TIME expression is bipolar so when it is set to EXP mode with 0V input 350ms is subtracted from all settings.

Are you using the correct power supply? Using an out of specification supply, a supply other than 9V, or an older style filtered but not regulated supply, or a power supply not capable of providing enough current for start up may cause this issue.  Is your pedal connected to a multi output supply rated below 250mA? Try a different power supply first.

Check the True Bypass or Buffered Bypass select switch under the cover on the jack board to be sure it is fully seated in one position or the other.

Yes. By using an expression pedal or control voltage input you will be able to get delay times up to about 900mS, however we cannot guarantee the clarity of the signal over 700ms so you may hear artifacts from this extended delay time.

For the ACV-1 the EXP input will allow longer times than the knobs, for the AFG-1 it will allow shorter times and for the APH-12 it will allow tuning to higher frequencies.

This is most likely a small mistake with the shielding on an internal cable shorting a control line in the connector. Contact us for the easy fix.

The ADG-1 insert is very similar to an amplifier insert or a mixer insert. To use it requires a TRS to TS insert cable.  This is not to be confused with a “Stereo to Mono” cable. It is often called a console insert cable. We previously stocked high-quality, 24" from Revelation Cable Company and you may still order this directly from them. The other cable, we recommend in the manual, is a Hosa STP-201RR(2) or STP-200 straight

To use, insert the TRS side into the ADG-1 SE and the other two ends go in your input and output of whatever pedal or device you wish to insert into the loop.  The insert loop breaks the delay loop before the Tone. In this use the signal comes out of the BBDs and then goes out to your device before returning back through the insert jack and then going to the Tone before branching out to the feedback and wet output sections.  Be sure the device you use can handle the levels, which may be hotter than some guitar signals depending on your drive settings. Any change in level from the input to the output of the device you insert will affect the feedback knob and the device limiting. 

The Mike Hermans demo video inserted a POG so that each repeat goes up or down in octaves.  This is a unique effect that clearly demonstrates the insert. With it each repeat will be an octave higher or lower than the repeat before until they get higher or lower than the ear can hear.