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The Surf Rider IV brings the surf and sand in a ground-up redesign that packs 3 distinct spring tank emulations, based on some of our favorite vintage spring-laden pieces. The available reverb modes include a tight tank, based on our 60s Reverberocket, the classic splash of our early silver panel Super Reverb and our SGFX fantasy tank, with a slightly exaggerated drip and decay for when you want Misirlou to sound certifiably otherworldly.

Housed in a compact package, with expanded controls and added features like soft-touch bypass switching with trails, selectable momentary or latching modulation and top mounted jacks, the Surf Rider IV is guaranteed to satisfy like a cool breeze in the sweltering heat. So, plug in honey bunny, crank it up and get your Dick Dale on!

Compact Spring Reverb pedal with modulation

• 3 distinct spring reverb tank emulations
• Reverb-O-Rocket (left) – small and tight tank based on spring reverb found low-watt vintage combos and tape units
  • Super Reverb (center) – classic 60s surf rock spring reverb
  • Fantasy Reverb (right) – spring tank pushed to the limits with floppier springs and longer trails
  • Flutter style modulation of the reverb trails – switchable between momentary or latching via internal DIP switch
• Multi-function footswitch switches the pedal on/off when tapped and engages flutter modulation when held down
• Compact enclosure and top-mounted jacks - for ease of pedalboard mounting
• Switchable Trails/Buffered Bypass – selectable via internal DIP switch
• Hand-made in Montreal, Canada

Sometimes the sequel is just better than the original - and that’s okay. It shows that the creator has learned something since the last dance, and boy have we learned a lot about spring reverb since our last Surf Rider. Therefore, we’re not afraid to admit that this is the best spring reverb pedal we’ve ever made. We just can’t wait for you to tap into all of the splashing, crashing and drippy magic inside our latest Surf Rider VI.

Whether you add just a touch for a little extra depth and space or if you like your rig soaking wet and dripping with the sounds of a crashing waves, nothing quite captures the vibe of surf and summer like a good spring tank. So, here’s how you operate your new favorite splash machine.

The pedal comes jam packed with 3 distinct spring reverb tanks, selectable via the 3 position toggle, each carefully crafted to give you the ultimate spring reverb experience.

• Reverb-O-Rocket: Modelled after the shorter spring tanks found on our own ’62 Reverberocket and Space Echo, the Reverb-O-Rocket is designed to add depth and space to your sound, without soaking your rig. This tighter tank is crafted to emphasize the warmth of your guitar while maintaining a smooth and subtle spring reverb tail.
• Super Reverb: Delivering the classic splash of our favorite 4x10 Fender, the Super Reverb is the ultimate amp style spring reverb emulation. Wider tails that bounce back and forth with that unmistakable metallic twerp. So get ready to be drenched in that classic 60s sound.
• Fantasy Reverb: Put on your board shorts and dive into the Fantasy Reverb. If you like it soaking wet, dripping with ‘verb and splashy like a crashing wave, this is the one for you. A spring reverb  where each characteristic of the attack and tail is pushed to physically impossible limits. Exaggerated decay, floppier springs and a thicker body are all there when you need to go to eleven. 

Surf Rider IV’s Decay knob sets the amount of time your signal bounces back and forth in the spring tank. If you turn it up all the way, your signal will clang, twerp and bounce with a huge tail. Level controls the volume of the reverb (wet) signal while the Dwell control adjusts how lively your spring tank will be. Turn it up all the way and get lost in the clangy ambience that a spring tank is famous for. Alternatively, just turn it down to get a warmer ‘verb. While the Body control sets how chunky the reverb is. Looking for a huge, echoey tail? Crank it all the way up! Want the reverberations to cut through the mix? Turn it down.

Want to add even more movement to your surfing tones? Well Surf Rider IV also has you covered. The multi-function footswitch not only turns the pedal on or off, but when held down will activate a mild pitch modulation. Internal dip switches set the function of the bypass and modulation. The Speed and Depth of the modulation can also be adjusted to taste.  

The Atlas Compressor offers a comprehensive collection of compression circuits that perfectly capture the tone and feel of the industry’s most sought-after compressors. Straight out of the box, Atlas delivers six different styles of compression, ranging from classic stompbox compressors like the now-discontinued Diamond Optical Compressor to high-end rack units such as the snappy 1176 compressor and the smooth and gentle LA2A optical compressor. Atlas also features advanced dual-band compression, which provides an independent set of controls for both the high and low frequencies. Each compression engine has onboard controls for Threshold, Ratio, Attack, Release, Output, Tone, and Blend, allowing for fine-tuned control over the compact One Series hardware.

A History Lesson in Compression
The Atlas is packed with so many different types of compression that it could serve as a tour guide through the history of compressor equipment.  First stop: classic stompbox squashers such as the legendary the Dan Armstrong Orange Squeezer and the excellent (but discontinued) Diamond Compressor.  Next stop: universal and ubiquitous studio rack gear like the smooth and gentle LA2A optical compressor and the ultra-responsive 1176 FET compressor.  Finally, we’re taking you to all-out nerd territory with Peak, RMS, VCA, and Dual compression, and an onboard Expander circuit… the Atlas has it all and does it well.

OPTICAL RACK
The Optical Rack compressor engine is based on the legendary LA2A studio opto compressors from the early 60s. Optical compression controls its output level with light. Increasing the incoming audio level in the original units caused an electro luminescent panel to shine brighter. A photo resistor monitors that light panel and decreased the audio output level, as the panel got brighter. The result is a very smooth and gentle attack that imparts a full-bodied and natural sound on guitar, bass, or vocal. This compressor sounds great with clean strummed or arpeggiated guitar lines as well as acoustic guitars.

STUDIO 76
The Studio 76 compressor is based on the 1176 studio rack compressors of the late 60s and early 70s. This solid state FET compressor is known for its full body and super-fast attack. All of the attack times in 1176 compressors clock in at less than a millisecond. Studio 76 is a great compressor for fast and aggressive country pickin’ (think Johnny Hiland), slap bass, slide guitar and much more.
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CUBIC ZIRCONIA
The Cubic Zirconia was inspired by opto compressors that use an LED in place of the LA2A’s electro luminescent panel. This technology is usually what you find inside effects pedals. Using an LED as an optical compressor’s light source creates faster attack and release times, which generate artifacts that tend to make the compression sound a bit dirtier. This is a great sound for playing tight and funky riffs on the guitar.

STUDIO SNAP
A very aggressive and modern sounding compressor. It's based on hard-knee, VCA feed forward type compressor. It uses two compressors in parallel to handle both RMS level controls (“Root Mean Square” compression means that the compressor will react according to the “average loudness”) AND the peaks. The combination of these two compression approaches gives STUDIO SNAP its character.
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DUAL BAND
The Atlas has two independent compressors that can be routed in a number of different ways. They can run in Series Mode (one running into another). They can also run in Parallel Mode and be mixed together with a Crossfade control. The Dual Band compressor runs in Band Split Mode, which is a version of parallel routing where one compressor controls only the higher frequencies (everything above 333Hz) and the other controls the lower frequencies (everything below 333Hz). With the Dual Band Compressor the high frequencies release faster than the lower frequencies, so as you sustain a chord the low frequencies remain compressed while the second compressor releases the high frequencies. The result is a beautiful blooming effect that accentuates high harmonics. This is a great compressor for slow ringing chords or lead lines with long sustained notes.


Bass Optimization Mode
We have made it easy to transform the Atlas into a bass guitar specific compression machine. With the push of a button, you can convert all six of Atlas’ onboard factory presets into low-end responsive compression engines, precisely optimized for the complexities of the bass guitar.  The dynamic range and attack characteristics are much different for bass than guitar.  Typically, to achieve a smooth compressed bass tone, the attack and release ranges for compressors such as the 1176 FET compressor and LED optical compressors need to be dialed-in accordingly. Likewise, in dual compression modes, the cutoff frequency that separates the lower band from the higher band needs adjustments to accommodate the specific frequency range of bass guitar. It is all part of our mission to make the Atlas Compressor the most flexible and easy-to-use compression workstation on the planet.


Features:

• 6 Types of Compression: The Atlas offers many different styles of compression with sounds inspired by studio rack gear and classic effects pedals.
• LA2A Optical Compression: A faithful recreation of an electro luminescent panel combined with a photo resistor and the resulting warm and smooth compression that has been the standard in studios since the 1950s.
• 1176 Feedback FET Compression: Based on the solid state FET compressor known for its full body and super-fast attack.
• LED Optical Compressor: Inspired by pedals that work on a similar concept as the LA2A, but swap the electro luminescent panel for an LED and a quicker, dirtier response.
• Dual Compressors: Use Atlas’ dual compressors in a variety of ways: in Series, Parallel, or Band Split mode, which provides a separate set of controls for both high and low frequencies.
• Studio Level Compression Controls: Access all the essential compression parameters including Feedback, Ratio, Attack, Release, Makeup Gain, Mix, and Tone, either with the pedal’s knobs or the Neuro Editor.
• Special Bass Mode: With the push of a button, quickly convert Atlas to a special Bass Mode with compressor engines specifically optimized for bass.
• Auto Makeup Gain: Dial in sounds quickly. Atlas automatically increases or decreases the Makeup Gain depending on the amount of compression.

Connect the Atlas Compressor to the Neuro Desktop Editor (a free download for Mac or Windows computers) or the Neuro Mobile App (free for iPhone and Android) and explore the power of effect downloading, customization, and sharing that comes with every One Series pedal.

• Growing Library of Published Presets: Quickly test and download sounds from the ever-expanding collection of published User Presets created by Source Audio and the rest of the Atlas Compressor/Neuro Editor Community.
• Deep Effects Editing Capabilities: Use the Neuro Desktop Editor (free download for Mac and Windows) or the Neuro Mobile App (free for iOS and Android) to create, store, and share highly customized filter effects.
• Dual Compressor: Use Atlas’ dual compressors in a variety of ways: in Series, Parallel, or Band Split mode, which provides a separate set of controls for both high and low frequencies.
• ​Dan Armstrong Orange Squeezer: A gritty compression inspired by the vintage 1970s unit that graced classic tracks like Steely Dan’s “Peg” and Dire Straits’ “Sultans of Swing.” Available in the Neuro Editor.
• Look Ahead Compression: A classic studio trick. When engaged, Look Ahead creates an imperceptible latency in the signal that “looks into the future” and allows for an extra quick and smooth attack that without any additional distortion or artifacts.
• Soft Knee:Adjusts the transition curve of the Threshold point. A sharper knee creates a snappy compression and a soft knee creates a more natural sounding compression. 
• Side Chain Compression: Use the signal going to Input 2 to trigger the compression applied to the signal going into Input 1.
• ​Advanced Equalization: Use the 3-band parametric or 8-band graphic equalizers to tweak the tonal characteristics of your compression.
• USB Connection – Use the pedal’s mini USB port to connect Atlas to the Neuro Desktop Editor, which can be used to edit presets or download the latest pedal firmware.

The Atlas Compressor responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its mini USB port. The USB port handles communication between the Atlas and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers with USB host support (we recommend the DMC.micro from Disaster Area Designs)

• Preset Saving – Save up to 128 effect presets.
• MIDI Mapping – Use the Neuro Desktop Editor to easily map MIDI Continuous Controller (CC) messages to a comprehensive list of parameters.
• Preset Recall - Use MIDI CC numbers 103 & 104 to recall any of the Spectrum's 128 MIDI accessible presets.
• The Neuro Hub - Connect the Spectrum to the Neuro Hub and use MIDI CC messages to control parameters or recall presets. 
• ​Note: As of Hub fw 1.18 and Spectrum fw 1.05, the Spectrum can now be added to scenes, is visible through the Hub, and can be controlled by PC messages, giving you the full access to 128 preset slots. 

Specifications:

• Includes 9v DC power supply (300mA / Negative Tip)
• Includes 1/8” to 1/4” cable for Neuro Mobile App connection.
• Power Consumption — 165mA
• USB port — Connects to Mac or Windows PC for firmware updates and the forthcoming in-depth effects editing software.
• Brushed anodized aluminum housing.
• Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs)