Product Overview
Excellent condition immediate predecessor to Strymon. Tested as working to spec.
Does not include box, manual or power supply. 9V AC 2000mA required.
Manual available at https://www.zikinf.com/manuels/damage-control-glass-nexus-manuel-utilisateur-en-36886.pdf
Glass Nexus represened a breakthrough in multi-effects devices, combining an unprecedented combination of power and ease of use. Modulation effects with incredible detail, and a reverb that sets a new standard in depth and realism combine with a 1.5 second delay – all controlled by a few simple knobs. 96KHz processing buffered by dual 12AX7’s produces un-compromised signal quality of the processed sound, while the analog dry path ensures transparency. The user presets, tap tempo, strum tempo, and MIDI implementation make sure Glass Nexus delivers in any performance or studio application.
Damage Control was founded by Gregg Stock (analog engineer) and Lucian Tu (industrial designer) in 2004. During this time, Gregg began crafting his own circuit board incorporating high-voltage vacuum tubes and pre-and-post-distortion parametric EQ. Once the board was designed, Pete Celi (DSP specialist), who Gregg had worked with at previous audio companies such as Alesis and Line 6, came to Gregg’s house to check out his latest invention. “Pete brought his guitar over to my house on a Friday so he could play through what I’d built,” recalls Gregg, “on Saturday, he called me up and basically said, ‘I’m in.'” Soon after, Dave Fruehling (embedded systems expert), another long-time friend and colleague of both Gregg’s and Pete’s, joined in and completed the Damage Control team.
With Lucian Tu designing the signature chassis and Gregg, Dave, and Pete improving upon the initial specs, Damage Control rolled out four tube-driven distortion units within their first two years–first, Demonizer and Womanizer and, later, Liquid Blues and Solid Metal. Meanwhile, Dave and Pete had delved into the world of Digital Signal Processing, designing some more intensive DSP-driven pedals also incorporating tubes known as TimeLine and Glass Nexus, which became the next additions to the Damage Control product line. Although the pedals were praised by players and reviewers, sales did not quite take off as hoped, and the team temporarily found itself focusing more on consulting gigs than new Damage Control pedals.
The trio of Gregg, Pete, and Dave remained intact, however, and in its afforded time continued to work diligently on a brand new set of product designs. In 2009, the team decided it was time to recommit to building their own gear. Now-departed colleague Terry Burton, who had been working independently in their offices, had created the Strymon trademark. The team decided to make a fresh start and began using the Strymon name for this new line of Damage Control designs. Following the development and successful release of blueSky, the team brought in Ethan Tufts (self-professed Marketing Nerd) to help promote the next generation of Strymon pedals.
Since 2009, Strymon, based in Westlake Village, CA, has launched a line of thirteen pedals covering everything from all-analog optical compression to DSP-driven modulation.
#vintageandused
