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Over one hundred effects in one box. Infinite pre-set or user-set combinations. Pretty much every classic amp ever emulated. Every favourite pedal. And a brilliant digital display, which tells you exactly what (or whose) sound you've landed on. Really easy to use, and just the one if you prefer every sound under the sun in one box over all those pedals, and all those cables.

Bar none, the best Tube Amp Simulator I've ever used. Not just the options for California, British, and Tweed amps. Not just the options for Clean to Hot-Wired Overdrive. But even options for Mic placement - the most subtle of the options, but still opening up an even wider range of sonic possibilities. No need for a wall of amps and cabs. Just this. Superb! Originally owned by Henry Olsen, bass guitarist with Primal Scream, and multiple subsequent collaborations.

Line 6 have led the way with digital amp and effects modelling since 1996. It's not the only thing they do, but say Line 6 and it's the Pod that jumps to mind. The Floor Pod ​is designed for live work - no fiddling around with computers. 12 classic amp tones, 64 preset sounds, a range of classic effects, and an expression pedal. If you want a compact and uncluttered board, this is the one.

Perfect for any player seeking authentic Fender amp overdrive tones. All the power, punch and overdrive of classic Fender valve amps, without having to go to 10. Has a nice 3-way high-cut EQ toggle, which gives you plenty of range to get anything from Gimme Shelter warmth to searing Sympathy For The Devil cut. Great pedal for that specific Fender valve amp sound.

A rare and hugely versatile pedal. The third off the production line - Serial # 0003. Lovetone describe the Meatball as "an amazing envelope follower/triggered filter". This is a pedal with infinite sonic possibilities - not to mention additional FX looping. For multiple instruments, not just guitars. Has to be heard (and experimented with) to be believed! One of a trio of Lovetones owned by Henry Olsen, bass guitarist with Primal Scream.

Tame by modern standards, but back in the early-70s, this was a pioneer. A Volume and Wah pedal in one. OK, quite an innovation. And then, why not, white noise filters that enable you to recreate the sound of a raging tornado or the surf on a beach. Oh, and just because there's still some space, a push button police siren, that can be activated in parallel with the instrument signal. Mad, maybe. But listen to 70s glam band The Sweet's classic Blockbuster and you'll know exactly why you need this one!

It's just a graphic equalizer, it's just a row of frequency sliders. Which is what I thought when I first plugged this in. But start to experiment with it and you're hooked. From thin & reedy (think Nutbush City Limits) to full-fat cream, can make any guitar sound like any guitar. As a floor-pedal graphic equalizer, it takes a lot of beating.

Classic no-frills chorus pedal. The first scale production compact chorus pedal, first introduced in 1979, and running strong through to 1991. You'd be hard-pressed to find any guitarist playing in the 80s, whatever their style, without one of these on their board.

The first pedal Johnny Marr ever bought, the pedal that made The Cure sound like The Cure, the purple choice of royalty, Prince, the only pedal that works for Billy Duffy on The Cult's She Sells Sanctuary, the "whoosh" behind John Squire's playing on so many Stone Roses tracks, and so the list goes on. A legendary pedal at the foot of so many legendary guitarists. And hugely versatile to boot - anything from a jet-plane whooshing overhead to short delay, chorus and vibrato. A timeless classic.

The father of all phasers, and the first pedal out of the shop when MXR launched in 1974, the legendary MXR Phase 90. This one's a Custom Shop recreation of that fabled original - with the addition of a 9V power socket and an LED to tell you when it's on (as if you'd need to know). A classic and brilliantly simple design, switching between phase modes at the turn of a single control knob. Whether you're after full-on rock or freaky funk, this pedal has it all.

A timeless classic. Built like a tank, perfect pedal response. The original 1990s version, with the side jacks (which seems to make more sense anyway, if you're chaining effects on a board). Originally owned by Henry Olsen, bass guitarist with Primal Scream, and multiple subsequent collaborations.

First produced in 1966 and immortalised by players like Clapton and Hendrix, this is a modern take on that original - more focused high end, more aggressive and accentuated wah sound.

Endless possibilities. The only limit is sleep deprivation. A harmoniser pedal featuring four pitch shift effects and up to three voice harmonies. Perfect for experimentation, even more perfect for creating multi-tracked guitar harmonies that will leave even Brian May open-mouthed.

A classic overdrive pedal, without the fuzz of many modern overdrives. This one very uniquely the first ever: Serial #0001. As Lovetone put it, "an instant flash-back to that dynamic, singing, BIG late 60's / early 70's brown sound that is associated with countless classic records spanning the whole musical spectrum . . . will make any new guitar sound 30 years older!" Best experienced through an amp that's already cooking! One of a trio of Lovetones owned by Henry Olsen, bass guitarist with Primal Scream.

Such is the demand, and such is the Analog.Man commitment to quality hand-built production, you'll be on a 2-year waiting list for one of these beauties. A brilliantly designed overdrive that takes an amp at reasonable settings, and makes it sound like it would sound if it were naturally driven to pure, smooth, tube distortion. Actually two overdrive pedals in one box, each with separate controls, and internal DIP switches to vary the level of Clean, Overdrive & Distortion output. Modern-day classic!

Not the reissue. This one's the original. Ibanez produced their fabled "9" series for a relatively short run, from 1982 -1985. This is one of those, and comes loaded with the original (and venerated) JRC4558D chip. Famous for its "mid-hump" boost" to midrange frequencies. And today, one of the most successful, replicated and "modded" pedals in history, A solid gold (or green) classic overdrive.

The overdrive of choice throughout the 80s & 90s, this one from the final year of the legendary LM308 chip, the one everyone raves about. Built to withstand a nuclear apocalypse. Huge range of overdrive, distortion and fuzz, with crystal clear dynamic response. Absolute classic!

Paul Crowther first produced the Hot Cake when he was with Split Enz in the 1970s. He knew what he wanted, couldn't find it, so made it himself. And only a couple of new releases since then, he's stayed true to the basic formula - a great fat overdrive that retains the underlying tonality of the guitar without resorting to fuzz. So good, I've got two. One for me, one for you.

The Electro-Harmonix Big Muff is the stuff of legends, so much so that it's had more replicas and tributes than guitarists that have used it (well, probably). This is one of the very finest of those replicas, based on the 1973 - 77 Big Muff, also known as the Ram's Head. Staggering sustain. The perfect pedal for pretty much any solo by David Gilmour since the 1970s.

The legendary Big Cheese, a fantastic recreation of that valve-channelled fuzz of the 60s & 70s, and some. In Lovetone's own words, "a loving homage to the nasty, buzzy yet gorgeous and harmonically rich early fuzz". Plenty of permutations fun to be had: set to Cheese, turn up the Curds, and you're straight into that world of gated fuzz cut-out that runs from late 60s Stones to mid-90s Radiohead. One of a trio of Lovetones owned by Henry Olsen, bass guitarist with Primal Scream.

Perfect retro remake. Based on the 1960's SAM ASH FUZZZ BOXX and ASTROTONE FUZZ made in New York City in 1966-68 by the Astro Amp company. Even built from a stock of transistors from 1966. The Analog Man gang worked really hard to create a rounded sound, as true to the low-end as the high-end. And they've nailed it. Classic 60s fuzz and distortion.

If you've never tried a looper before, then you're missing out. Within seconds, you've recorded your first backing track and will be overlaying tracks, jamming along, or completing that masterpiece. The industry-standard when it comes to compact looper pedals, easy-to-use and loads of fun. Even has a USB port for you to export whatever you save to your computer/hard drive. A lot of genius in one small box!

For anyone living through the 80s, the original Boss DD-2 was an absolute gift from heaven. The first digital delay in compact format - and for any musician on a budget, the only answer when a rack-mounted delay unit would have blown away a month's income. The DD-3 followed only 3 years later in 1986 - and is still in production today. Stands the test of time, a gold standard delay pedal.

The industry standard. Compresses high-input signals while boosting low-input signals, giving you smooth sustain without degrading the quality of the original sound. Will instantly make you sound more in control of your playing, without taking away from your hard-earned and uniquely dynamic style.

Yes, I know. It's not a pedal, nor an amp. But it does have a pre-amp installed. A lovely warm tone across the range with this Fishman Rare Earth humbucker. Also benefits from a small and easily accessible volume knob, which gives you control over the output if you've got a noisier crowd loving your sounds. Takes less than a minute to install, and you're ready to go.

If fear of a flat battery on your active pick-up keeps you awake at night, then this is the one for you. Dean Markley's passive single coil acoustic pick-up delivers crystal-clear tone for your acoustic, with no reduction in warmth. Also has one of the most ingenious soundhole fixing designs out there. A brilliant, simple design.