General
Housing a circuit that almost duplicates an old Panasonic MN3207 Bucket Brigade IC chip, the CS9 Pro delivers fuller and deeper sound than your average chorus pedal, resulting in more richness and intensity, while never getting too shrill or overbearing. This keeps your guitar sound organic while adding some edge and removing the sterile feel that pedals built in the '80s have a bad reputation for. The speed, depth and wet/dry mix can be tweaked in detail, supporting a full spectrum of chorus effects and, since the delay-time is also fully under your control, this pedal is able to shape rotary-speaker style modulation or even a subtle vibrato or flanging effect. Basically, the Maxon CS9 Pro Stereo Chorus covers it all.
A Spatial Effect
What also makes this little pink monster truly unique is the so-called 'spatial' effect. By pulling back the speed and depth pots to a low level and opening the delay time all the way up, you can make it sound like your guitar is doubled, resulting in bigger, weighted sound but then free of any modulated wobble. This spatial effect is exclusive to Maxon pedals and kits out the CS9 Pro with way more potential than any other chorus pedal in the known universe.
Maxon
First born in the '60s, Maxon was initially busy producing pickups, but by the end of that defining decade, had already started dipping into the dynamic world of effects pedal development. Since they were mostly making pedals for other brands, when the '70s arrived, Maxon were building stompboxes almost exclusively for Ibanez. As such, many legendary Ibanez pedals are actually Maxon designed and made. The most renowned pedal from this period has to be the Ibanez Tube Screamer (also known as the Maxon 808 Overdrive). This partnership carried on well into 2002 when Ibanez and Maxon finally parted ways. Ever since, Maxon have been producing their own gear, under their own name, and some of their fresh pedals include versions of older Ibanez stompboxes - reissued, and re-stamped with the now-independent Maxon name
