Your board got smart. Your analog pedals didn’t.

The modern pedalboard has become a sophisticated programmable instrument. With a single press on a MIDI controller, switchers reconfigure signal routings, master clocks synchronize tempos, and digital processors load complex multi-effects presets.

Until you reach for an analog sound.

The moment you want the lush, organic depth of a genuine bucket-brigade chorus, a warm tape-style delay, or an analog flanger, you are thrown back into static hardware: one fixed sound per pedal, knob positions you cannot touch mid-song without bending down, and an ever-growing footprint of enclosures, patch cables, and power taps.

Digital modeling pedals promised to fix this, but they require a heavy compromise: converting your instrument into digital samples, introducing latency, and replacing real electronic physics with DSP approximations.

Digital conductor. Analog instrument.

The Analog Multi Effect was engineered to eliminate that compromise entirely.

We asked a fundamental question: what if a pedal had the instantaneous recall, 128 preset slots, and deep MIDI automation of a flagship digital multi-effect—while keeping the audio signal 100% pure analog?

To make that happen, we built a physical analog engine: three 2048-stage bucket-brigade delay lines, eight discrete VCAs, dual active analog filters, and dynamic companding circuitry.

Overseeing this analog core is a dedicated 96 MHz digital supervisor. It sets control voltages, manages routing switches, and modulates clock frequencies with microsecond precision. It conducts the machine, but never steps into the signal path.

The audio signal path is 100% analog from input to output. While an onboard microcontroller samples the input strictly for pitch tracking and envelope detection, that data is never output—there is no D/A converter in the signal path, no audio digitization, and zero processing latency. You get the raw, reactive feel of genuine analog hardware with modern programmability.

Engineered for real-world rigs.

Great sound design requires thoughtful mechanical and electrical design. We built the Analog Multi Effectto integrate effortlessly into demanding live boards and studio desks:

Compact pedalboard geometry

All connections—audio, MIDI, expression, and power—are strictly top/rear-mounted. There are zero side jacks, allowing pedals to sit flush against each other on crowded pedalboards.

Modern 3.5mm TRS MIDI

Space-saving 3.5mm TRS MIDI In and Out jacks (MIDI Association Type A standard) provide full MIDI clock sync, instantaneous Program Change recall, and continuous CC control over every internal parameter.

Studio line-level headroom

With a maximum input level of +4 dBu and 1 MΩ input impedance, the pedal handles everything from delicate vintage single-coil pickups to high-output synthesizers, drum machines, and studio sends without clipping.

Zero-install WebMIDI editor

No bloated desktop installers, background drivers, or cloud accounts. Connect over USB-C and manage presets, audition algorithms, and update firmware directly inside any modern web browser.

Independent craft in Wellington.

Kill Room is an independent audio engineering lab based in Wellington, New Zealand. The Analog Multi Effectis our debut hardware platform.

From schematic design and PCB layout to embedded firmware, algorithm development, and precision mechanical enclosures, every aspect of this instrument has been designed, coded, and tested here on the bench.

We build tools for players and producers who refuse to compromise on tone, touch, and tactile inspiration.

Get in touch

For technical enquiries, dealer questions, or artist collaborations, reach us directly at hello@killroom.co.nz.