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GOKKO

GOKKO Analog Chorus Effect Pedal Supper Chorus (GK-65)

    • Based on 271 reviews
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Availability: In Stock.
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Arrives Sunday, Nov 3
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Color: GK-65 Supper Chorus


Features

  • Analog design with incredible signal-to-noise ratio.
  • Bucket brigade delay creates characteristic warm, smooth and organic sound.
  • Dial in the perfect sound with Rate, Depth, Intensity and Bass/Treble controls.
  • With bass filter works for bass guitar.
  • Solid metal construction with vibrant color.
  • DC 9V/50mA input.

Description

GOKKO Analog Chorus Effect Pedal Supper Chorus

Brand: GOKKO


Style: Compact


Color: GK-65 Supper Chorus


Voltage: 9 Volts (DC)


Amperage: 50 Microamps


Item Weight: 14 ounces


Product Dimensions: 4.72 x 3.74 x 1.97 inches


Country of Origin: China


Item model number: GK


Date First Available: July 20, 2023


Color Name: GK-65 Supper Chorus


Signal Format: Analog


Power Source: Corded Electric


Voltage: 9 Volts (DC)


Frequently asked questions

If you place your order now, the estimated arrival date for this product is: Sunday, Nov 3

Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.

To initiate a return, please visit our Returns Center.

View our full returns policy here.

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The media could not be loaded. /// Dripping review /// Like a foggy morning in a forest after a night of rain TL;DR — Lush and dark delays; pleasant sweep of the pots; not the thing for huge delay times I’m lucky enough to be living in the Pacific Northwest, home to good beer and a pronounced rainy season. The morning after a good, soaking rain can often leave you with a particularly cloying fog. Not quite airy, it’s more like walking around underwater. The Dripping pedal is the sonic accompaniment to this scene. As a delay, it does an admirable job: the Repeat and Delay knobs present the expected controls. However, one of my favorite experiments with a new delay box is to test its reverb box mimicry. Long Repeat, medium-shortish Delay. Play with the Repeat, get a sense of where the self-oscillating feedback destruction line rests. It’s just before this line that I found myself really liking the Dripping. The repeats are pleasantly dark and fold back into themselves nicely. It actually reminds me a bit of a Roland DC-50 that passed through my hands long ago. Of course, the Level is key: you can go from mysterious, almost-not-there coloring to deep-end-of-the-community-pool-at-2-AM confusion. And as much as I love delay madness, the Dripping excels at subtlety. Indeed, it seems to have be designed to err on the side of subtlety. The pots, in motion and response, are never jarring. I’m not sure what the max delay time might be, though it’s not enormous. There are other delays out there that will launch you to Alpha Centauri; while I certainly wouldn’t call it boring, the Dripping excels at more conventional uses. And if you _do_ attempt to launch into space, a Digital Demon might rear its pixelated head (see video for proof). Check out the video for some sound samples. Simple loops into a DAW. Straight, no chaser. Ultimately, I’m very happy with the Dripping. I do need to gripe about the side-mounted power insert. And at the same height as the signal exit jack? Sigh. Why, oh why, was this design decision approved? But I do like the purple paint job and simple raindrop screening. You can’t win ‘em all, I’ve heard it said. /// /// Angel review /// An Angel, sculpted in ice, plated in chrome. TL;DR — Anyone got a Band-aid? This thing cuts. Chorus is a funny thing. Sure, if you’re into shoegaze, you know it’s practically the coin of the realm. But over the years, I’ve been surprised at how I increasingly notice it on all sorts of albums. From subtle thickening to lush modulation, much like modern depression, it’s more common than you might think. The Angel, however, is not subtle. It’s not lush. It cold and glorious and sharp, like the 4-foot icicle you’re sorry to see finally fall off your gutter. But let’s get one thing out of the way: engaging the Angel will sap some volume. I don’t think using the dreaded pejorative “tone suck” really applies, because the resulting tone is so manipulated that I think falls into the “design feature” bucket, and not the “bug to fix” bucket. But you will hear a DB drop. Not a big deal if you use the effect throughout a track, but could present a problem if engaged mid-song. When the Angel is unsheathed, you’ll find the blade short and wicked. Rate and Depth knobs here, nothing else. Even a low Rate and slight Depth will chill your cocktail. Then boost the Depth for a view of the Arctic tundra at sunrise. Higher Rate with mid-Depth will give you brain-freeze in the nicest possible way. While it’s definitely not a Swiss Army chorus, it succeeds in offering a piercing, unmistakeable tone for those looking for chorus with a capital K. Pair it with your favorite distortion and delay, and you’ll be playing Levitation fest in no time. /// /// Creepy review /// More soothing than spooky, this box unpacks a range of reverbs TL;DR — Cryptic, if not creepy; playas, if not vistas; a fun, diverse sonic palate to explore How on earth has no one named a reverb pedal “Creepy” before now? And with that stroke of marketing genius, I knew that I had to try to it out. You see, I don’t like the reverb, but the reverb likes me. I just. Can’t. Get. Enough. With that full disclosure, let’s talk about what we have on tap here: big blooms (and some booms). Caves (if not exactly caverns). Unusual controls (with a typo). Let’s start there: we have Resonant, Mix and Decay knobs. Standard issue. But we also have Low Pass Filter, Center Frequency and Pre-Delay (incorrectly labeled “PPD”) knobs, too. The Center Frequency definition mentions a “formant,” hinting at some neat tone-shaping possibilities. The LPF promises warmth. Holy smokes — could it be true? I’ve scaled the mountain, and yeah, I think they might've just hit the mark. What we have is a very useful tool: from slight breathing room to vertiginous expanse, you can find it. The Mix knob, in particular, is where the alchemy happens: it’s very responsive to the other settings. I’m not sure if it translated in the video, but the Pre-Delay knob can introduce some real drama that can force your signal to overdrive (if the Mix is high enough). While this could be seen as a hazard, I liked the range. I’ve used some plug-ins with Pre-Delay controls that barely affected the signal. (One note on the video: reverb is _very_ hard to record casually, and I’m the first to admit the iPhone isn’t the best tool to capture it. I hope it helps instead of hinders…it’s the best I could do, kids.) I applaud Gokko for aiming high (and outside) with this box. The one-sheet promises “not just slap back delay,” and it delivers in spades. If you dig dreamy, shapable reverbs that can be positioned in a variety of ways, get Creepy, group! /// /// Sonicfuel review /// Like south Kansas in August: hot, sweet and…surly? TL;DR — Hot hot heat; solid tone knobs; 8:00 sweet spot Y’know, maybe it was the sweet green screening. Maybe it was the inexplicable lighting bolts or font face. But there was something intriguing about this guy. Since I’ve had good experiences with Gokko, I pulled the trigger. It’s well into December in Oregon, but this pedal reminds me of summer in the land of wind and ghosts. After a spell, the Sonicfuel (let’s take the name in stride?), has really taken root. It’s not nearly as subtle as many overdrives I’ve had, and, indeed, I think it’s fair to brand it an OD/distortion. Sure, it’s gain-y — maybe to a fault — but it’s ultimately house-trained. Mostly. And who really want’s safe fun on a summer Friday night? Start with a pinch of Gain, just up to 8 o’ clock. Humming, excited. Nothing smoldering here. You can roll it off a bit with the Treble control, but it still lights up, like you when the first evening breezes roll through when the sun’s finally set in the middle of August. After that, it’s off to the races. The EQ knobs offer a lot here, but it’s really all about that sweet 8:00-11:00 zone. Raw. Dare I say sultry? Post-11:00, we get into the time of night when a tussle becomes a likelihood. By the way, this thing has great string separation, even at higher Gain settings. I think this is noteworthy: even deep within the distortion end of town, you don’t lose the plot. Check the video for a sample. Seventies Matsumoku humbuckers direct into a DAW, no nothing added/subtracted. (I will note that I also had a chance to play this through a friend’s flea-bit Alamo tube amp and I almost ran away with it to Vegas. Low 8:00 Gain. Near-vanna. Alas, no video proof, but yeah, it was a good time, no sweat.) ... show more
Reviewed in the United States on November 6, 2019 by Wm. Beecher Stoneman
    • Loving the ‘Simmer’.
Color: GK-46 Reverb
Since first hearing a ‘Shim-Verb’ on YouTube I’ve wanted one. Found this one at what I thought was a good price. Turns out it was a great price! With the shimmer off, you have a really nice sounding reverb. Not a spring reverb to be sure, but a nice reverb nonetheless. But what I bought it for was the shimmer, and I was not disappointed! Beautiful! Obviously, this pedal is not for everyone, but if you’re looking for something spacey, in the shoe-gaze slash ambient zone, then you really should consider this pedal. ... show more
Reviewed in the United States on April 5, 2023 by geri turner
    • Surprised
Color: GK-65 Supper Chorus
I own lots of pedals including a strymon chorus . This is a nice different flavor for few bucks . Sounds good with the bass filter on with guitar …just tested but pleased so far . Just with delay I’ll update when used with fuzz etc . But good deal plus the eq controls .
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Reviewed in the United States on August 18, 2023 by Tone chaser
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Reviewed in the United States on June 15, 2023 by Sharktongue

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