LOST CONTACT
US$199.00 - To purchase, please visit our Dealers section.
“Splendidly hideous in all the right ways.”
- Matt McJunkins, American musician, A Perfect Circle, The Beta Machine, Thirty Seconds to Mars, Ashes Divide, Puscifer, Poppy and Socadia.
The Lost Contact is by no means a mild fuzz or distortion pedal. For artists who want to push the sound of their instruments past the breaking point, lost contact is for you.
The input knob provides extreme levels of gain for fuzz and distortion tone. The large tone control affects the bias of the gain circuit and dramatically impacts signal intelligibility. Depending on its selected frequency, the musical transmission ranges from tight distortion to fuzzy break-up to static disintegration.
Our custom steel enclosure is hand patina-ed and so every unit is truly unique.
The fabrication, soldering, assembly and testing are performed by our dedicated team in Montreal.
We proudly offer a five-year warranty on our products.
Features:
LED indicates status of footswitch (on/off)
Footswitch - True Bypass
Knob Right - Input Level
Knob Left - Output Level
Centered Top Larger Knob - Color/Headroom/Tone/Enjoyment
Additional information:
Efficient operation with 9V center negative, minimum 300mA power supply (not included)
Input 1/4” TS Unbalanced
Output ¼ TS Unbalanced
Current consumption: 12mA
Power consumption: 0.11W
Dimensions: 2.5”h x 4.5”w x 3”d
Weight: 0.6 lbs
We sent Matt McJunkins a Lost Contact so that he could spend some time with it and share his thoughts. A little while later, he dropped an absolutely killer jam, running his bass straight into the Lost Contact and slamming it.
We weren’t expecting this video at all, and it’s in these moments that we’re reminded why we build this stuff in the first place. IG @mattmcjunkins
No polish, no script, a raw clip from our industrial space of the very first time we tried the Lost Contact with a bass. A simple riff, but the impact is massive.
This demo was taken in our industrial building and includes two takes of the same performance: phone audio (with the freight elevator’s natural reverb) followed by direct line-in audio for a clear, close-up listen to the pedal. We kept both because we couldn’t decide which one was better, and Phil Lemire absolutely nailed it. IG @philelemireguitar