JHS Bender - Tonebender Replica - Legends of Fuzz Series
Sold Out
BENDER
1973 MKIII TONEBENDER* REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create.
The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange “Onomatopoeia” version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors.
The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never-before-heard “JHS Mode”. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about.
If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.
View full product details
JHS Supreme - Univox Super Fuzz Replica - Legends of Fuzz Series
$179.00
SUPREME
1972 UNIVOX SUPER-FUZZ REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.
Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.
The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.
The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.
If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.
View full product details
JHS Crimson - Red Army Overdrive Replica - Legends of Fuzz Series
$179.00
CRIMSON
1992 MIKE MATTHEWS RED ARMY OVERDRIVE REPLICA
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In 1969, Electro Harmonix released the first “Triangle” version of the legendary Big Muff distortion fuzz. All throughout the 1970’s we see various new revisions of this famous circuit like the V2 "Rams Head” (1973), V3 “Pi” (1977), V4 “Op Amp” (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade.
In the early 90’s Mike Matthews noticed that his 1970’s Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*.
This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* “Civil War” (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history.
The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never before heard “JHS Mode”. Push that button for a mid frequency boost that forces your sound through the mix.
If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you.
View full product details
JHS Smiley - Silicon Era Arbiter Fuzz Replica - Legends of Fuzz Series
$179.00
SMILEY
INSPIRED BY FIRST-ERA SILICON MODEL ARBITER FUZZES
$179
5.68 X 3.62 X 2.0 INCHES, 0.85 LBS
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In 1966, a salesman named Ivor Arbiter saw the rising British rock scene demanding the effect of fuzz. He decided that his company Arbiter Electronics* needed to join the other London guitar product companies and release his own take on this trending sound. After seeing the circular base of a mic stand, he came up with the idea to put the effect in a similar round enclosure and give it a face: two eyes made of knobs, a foot switch nose, and a brand label mouth.
Thus, the Fuzz Face* was born. That same year an American guitarist named Jimi Hendrix arrived in London and adopted Ivor’s design as his weapon of choice, and the rest is history.
The first few years of the Fuzz Face* were manufactured using germanium transistors but by 1969, germanium fully gave way to silicon devices and Arbiter never looked back. Hendrix himself preferred the silicon versions over germanium because of their sound, aggressive bite, and their stability in environments where germanium proved inconsistent. The JHS Smiley is a sonically faithful recreation of what makes these early silicon Fuzz Faces great. Several vintage units from my collection were considered and analyzed so that we could be sure to perfectly capture the magic that I love in this era.
The Smiley is clear and defined, straddling the line between distortion pedal and a searing sustain, sustaining low end and crisp mid-range bite that you expect from a vintage Arbiter unit. One of the most revered characteristics of a good Fuzz Face* is its ability to clean up when the guitar's volume is rolled back, and the Smiley does this effortlessly.
The controls are Volume and Fuzz. Volume sets the overall output level of the effect; turn it up and it gets louder. Fuzz is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” control. Push this button to access our own unique “JHS Mode”. This mode sends the Smiley into high gain / gated fuzz territory that you may never want to come back from.
If you want a fuzz that covers coveted classic tones, look no further. Legends like Jimi Hendrix, Jack White, Eric Clapton, David Gilmour, and Eric Johnson have used this circuit on countless albums. Now it's your turn.
View full product details
JHS The Little Black Amp Box Volume Utility
Sold Out
LITTLE BLACK AMP BOX
VOLUME UTILITY
Taming a screaming-loud tube amp doesn’t always require bulky and expensive load boxes and attenuators. If your amp has a series effects loop, the JHS Pedals Little Black Amp Box takes care of the job while being able to fit into the palm of your hand. Simply run it through your amp’s effects loop and control the amount of signal you send to your amplifier’s power section. You’ll love the way the Little Black Amp Box lets you really push the front end of your amp for the natural feel and tone that you can’t get any other way. And your bandmates, sound engineer, parents, neighbors, significant other, and pets will love the way it can keep your volume down to bedroom levels.
**WARNING**
ATTEMPTING TO PLACE THE LITTLE BLACK AMP BOX BETWEEN THE POWER SECTION OF YOUR AMPLIFIER AND YOUR SPEAKERS WILL RESULT IN DAMAGE TO YOUR GEAR. PLACE IT IN A SERIES EFFECTS LOOP ONLY.
CRANKED AMP TONE AT WHISPER VOLUME
If your amp has a series effects loop, you should stop reading this and go buy a JHS Pedals Little Black Amp Box. All the roaring amp tones you need come with none of the ear-bleeding levels.
- Run it in your effects loop to turn down a turned-up amp
- Retain the response and tone of your amp’s sweet spot at lower levels
- High-grade components keep your tone clear and pure
- Passive design doesn’t require any power
CONVENIENT LOW-PROFILE DESIGN
A device such as the Little Black Amp Box is content to be a workhorse piece of gear that quietly does its job in the background. That’s why we designed this little guy to be compact, sturdy, and simple to integrate into your rig.
- Small size is ideal for saving pedalboard space or even setting on top of your amp
- Can easily be mounted underneath your board
- Built rugged
- Black powder coating keeps the buffer hidden in the background
THIS PEDAL DOES NOT REQUIRE POWER AND IT MEASURES 3.6"X1.5"X1"
View full product details
JHS Colour Box
Sold Out
COLOUR BOX V2
PREAMP / EQ / OVERDRIVE / DISTORTION / FUZZ / DI BOX
In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard to achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, WIlco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.
I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.
In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!
On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, to War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott
VERSION 2 EMERGES
The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.
The most significant improvements are:
-
Addittion of an Output transformer
-
Safely Passes 48v Phantom Power
-
EQ Shift Knobs for precision EQ control
-
Hi/Lo Switch for ultra clean headroom
-
100% available clean signal even on acoustic guitar
-
Silent switching, aka no "switch-pop"
-
Runs on standard 9V DC Neg power
FEATURES & CONTROLS
The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain.
The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.
The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.
In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.
MOST POWERFUL EQ YET
The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. The center frequencies for the Shift knobs are Treble 10kHz, Middle 1kHz, and Bass 120Hz, while the Treble, Middle, and Bass knobs boost or cut with +/- 17dB of control. If you want to boost high-mid frequencies, turn the Mid Shift knob to 3 o'clock or above and increase the Middle knob above 12 o'clock. If you want to cut upper treble frequencies, turn the Treble Shift knob to 3 o'clock or above and set the Treble knob below 12 o'clock. The Shift knobs give you precision control over the EQ for anything you put through the Colour Box V2.
Frequencies controlled by Shift Knobs:
-
Treble: 1kHz - 15kHz +/- 15dB
-
Mid: 160Hz - 2.5kHz +/- 10dB
-
Bass: 20Hz - 400Hz +/-15dB
-
HPF 160Hz - 650Hz 3dBper octave filter
The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob, which spans from 60Hz to 800Hz with a 6dB per octave slope.
XLR AND OUTPUT
The Colour Box V2 has a combination XLR and 1/4" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR.
THE COLOUR BOX RUNS ON STANDARD 9V DC NEGATIVE POWER AND MEASURES 5.7” X 3.75” X 1.85"
View full product details
JHS PG-14 Paul Gilbert Overdrive
$199.00
PG-14
OVERDRIVE / DISTORTION / PAUL GILBERT SIGNATURE MODEL
JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.
This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels.
ALL THE MIDS CONTROL!
A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination.
The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice! Just hit the footswitch!
THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 67MA, AND MEASURES 2.2"X4.8"X1.6".
JHS Pedals Cheese Ball FUZZ
$179.00
|
JHS Muffuletta Fuzz
Sold Out
Price: $229
The Big Muff fuzz has been around so long, been on so many classic recordings, and been through so many variations that every guitarist out there has a favorite version of its iconic tone. JHS wanted to pay tribute to that undeniably classic fuzz pedal, but we couldn’t come to a consensus about which Muff was king. With the Muffuletta, our indecision is your gain. We crammed five all-analog re-creations of the pedal’s most beloved tones into this box. We even threw in a JHS-exclusive tone that is our take on the historic stomp. No matter what Big Muff era you prefer, you can get ‘em all in the JHS Muffuletta fuzz pedal.
Five tones inspired by these classic Big Muffs:
- JHS - "2015"
The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful and less compressed, with a more haunting midrange. It is also the best for bass guitar.
- ‘73 Rams Head - “1973-1977 V2”
The ‘73 Rams Head gets its name for the strange little face that appears on the lower right corner of the original pedal. It is best known for having a scooped midrange, less gain, and being darker.
Famous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)
- The Triangle - “1969-1970 V1”
The Triangle Muff is so named for the triangle arrangement of the knobs. It boasts more low-end response while being more articulate.
Famous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.
- The Pi - “1977-1978 V3” An instantly recognizable red Pi symbol gives this pedal its moniker. This is not to be confused with the later redesigned NYC version released in 2000. It features a more aggressive sound.
Famous users: Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).
- The Russian - "1999-2009 V8”
The Russian Muff is named by the “Made in Russia” text found on the back of the pedals. It sports less clarity and less low end than other models. A great garage-type sound.
Famous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).
- The Civil War - “1991-1993 V7”
The old-style Civil War-era font and navy and gray colors found on these pedals’ enclosures dictate their name. They are best known for having more midrange and having a brighter overall tone with less gain.
Famous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).
With a pedal so stuffed with tasty tones you will have a hard time needing anything else to curb your appetite.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.8"x1.6".
JHS Double Barrel V4
Sold Out
Price: $315
This is our "Everything low-to-medium gain" pedal and it just got better!
The Double Barrel V4 is for the player who needs a versatile but transparent overdrive at medium and light gain levels. You won’t find face-melting distortion here, but you will find overdrive with the character and stacking abilities to cover almost any tonal need. So let’s look at the Double Barrel V4 and see why it packs a one-two punch that is unrivaled.
The right side is our brand new Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core sound as the Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal.
The left side of the Double Barrel is our best-selling Morning Glory V4 overdrive. Transparent and open tones are what lurks inside this circuit as well as the new hi-gain toggle with Red Remote capability. Just plug in the JHS Pedals Red Remote into the “Remote Gain” jack with a standard patch cable and you can switch the “Gain” toggle on the fly for even more tonal options. You now have five on-the-fly overdrive options to choose from in the Double Barrel V4!
When these two circuits are stacked, something magic happens. Tones that are original and fresh come with ease, as well as added flexibility, due to the “order switching” toggle that lets you decide what pedal comes first in the signal chain.
- Endless overdrive tones from low to medium gain.
- Updated versions of the Moonshine and Morning Glory.
- Red Remote capability with the Morning Glory V4.
- Order toggle to select the order of effects when stacking.
We are convinced that this is one of the greatest 2-in-1 pedals ever made... seriously. If you're having problems getting the tones you want, just grab the Double Barrel V4 and you’ll find out how easy it is to hit the target!
This pedal requires standard 9V DC Negative power, consumes 81mA, and measures 4.7"x3.7"x1.5"
VERSION HISTORY
V1 = Slightly darker cream powder coating, no toggle switches, just 6 knobs.
V2 = Color change to more white, order toggle switch was added, morning glory bright cut switch added.
V3 = 808 gain toggle added, shotgun logo slightly changed.
V4 = Current production model, added Moonshine V2 on right side, Morning Glory V4 on the left side
JHS Mini A/B
$55.00
Price: $55
There are two types of players, those that utilize an A/B box like our Mini A/B here, and those that don’t know what they’re missing. Add one to your pedalboard, and you’ll find the Mini A/B is full of indispensable benefits on the gig, in the studio, or even at home. At its core, the simple footswitch design selects between a pair of ¼” jacks on the left side of the unit. Hook one up and you’ll instantly be switching between amps, quickly swapping guitars between songs, using it to isolate your tuner from your signal, killing your stage sound as a mute, and more. And with its adorably tiny footprint, the Mini A/B will fit on even the most cramped pedalboards.
The do-it-all switch
How many ways you utilize the JHS Mini A/B is only limited by your necessity. While it may not be a modulation pedal or fuzz (don’t worry, we have those for you too: Mini Foot Fuzz, Emperor), you’ll be hard pressed to find a pedal you step on more than this little gem.
- Instantly swap between two instruments
- Perfect for switching tones on dual-amplifier rigs
- Isolate your tuner from the signal chain, while achieving silent onstage tuning
- Leave output unplugged for a convenient mute function
Convenient low-profile design
Like its name suggests, the Mini A/B is a bite-sized wonder. We can achieve that because of its passive design, which also means it won’t cause any tonal loss. However, we did choose to include a bright LED indicator, letting you know which jack is selected. Don’t need that light? Just unplug the power cable. The Mini A/B will still work just fine.
- Small size is ideal for saving pedalboard space
- LED indicator tells you which ¼” you have selected
- Can run perfectly without power
- Built rugged
This pedal is passive but requires standard 9V DC Negative power for the LED to function and it measures 3.6"x1.5"x1"
JHS Red Remote
Sold Out
Use our new Red Remote with select JHS Pedals to remotely activate the on-board toggle found on the pedal itself. By connecting the Red Remote to a Red Remote equipped pedal with any 1/4” instrument cable, this essentially acts as an on-the-fly switcher to give you more tonal options in any setting. The Red Remote is currently compatible with the following JHS Pedals:
Morning Glory V4
SuperBolt V2
Twin Twelve V2
Double Barrel V4
When using the Red Remote, the remote itself will act as the toggle, therefore disabling the pedal's onboard toggle switch. For example, if you have our Red Remote plugged into the SuperBolt, the SuperBolt's "GAIN" toggle will be deactivated and the Red Remote will switch the toggle on/off as you step on the footswitch.
To use the Red Remote, plug the remote into the jack of the pedal labeled "REMOTE..." ...this jack will have a red washer to denote it is the appropriate jack to plug the Red Remote into.
NOTE: You can use any latching amp style footswitch or build your own too!
JHS Milkman Delay
$179.00
Price: $179
The JHS Pedals Milkman began with a conversation between Josh Scott and Tim Marcus of Milkman Sound. Tim wanted a pedal that could pair perfectly with the tremolo and reverb on his amps, something that country and Americana players could use as their only pedal if desired. Thus the Milkman was born, a perfect combo of slap delay and clean boost that will give you just what you need and not too much. So pour yourself a big glass and tip it back because the Milkman is about to deliver!
The Milkman has two fully independent effects with the boost on the right side and the slap delay on the left. The boost is a fully clean boost that is fantastic to push your amp into natural overdrive or leave on all the time as a preamp. The slap delay has controls for Slap, Mix, Repeat, and EQ. The Slap control adjusts the time of the delay from 0ms, which can create a doubled type effect, to 250ms to give you just enough echo to get some spacious sounds. The Mix control adjusts the volume of the echo. The Repeat control adjusts the number of repeats the delay will give you. The EQ control adjusts the brightness of the repeats to give you the ability to have a darker more ambient sound or a brighter, chirpier sound that cuts through the mix.
- Two fully independent effects in one small footprint.
- Boost allows you to have an always-on preamp or send your amp into natural breakup.
- Slap delay to give you just the right amount of echo to give your tone the cream on top.
- Perfect for slide, country, rockabilly, and Americana.
The JHS Pedals Milkman will give you all the creamy and satisfying tone you’ve been looking for to complete your sound!
This pedal requires standard 9V DC Negative power, consumes 27mA, and measures 2.6"x4.8"x1.6".
JHS Bonsai 9-Way Screamer
Sold Out
JHS Bonsai 9-Way Screamer
In the late 1970's the overdrive pedal was arguably perfected when Japanese engineers designed the sound that we now know as the heart and soul of so many of our favorite artists, recordings and sounds. Players ranging from The Edge, Trey Anastasio, Buddy Guy, Kirk Hammett, John Mayer, SRV, Carlos Santana and thousands more from every possible genre have utilized and depended on this classic iconic green box. If a single effect pedal was chosen to board a Voyager 3 mission and be solely responsible for showing the universe the sound of overdrive, it would undoubtably be Tube Screamer. It is probably the most produced and sold pedal in the history of guitar pedals! The Bonsai is our tribute to one of the greatest pedals ever created.
Following in the steps of the our Muffuletta (released 2015), the Bonsai utilizes a simple rotary knob to switch through nine classic, vintage, rare, or hard to find variations of the Screamer. Creating the Bonsai became an archeological dig of sorts that sent us deep into the history of this circuit by examining dozens of versions, variations and replications. At the end of it all, Josh chose nine of his personal and favorite units and we painstakingly replicated every nuance and aspect of each pedal. One of the most challenging parts of this project was accounting for component drift as many of these pedals were decades old and the internal components had strayed from their original values. Each pedal was individually replicated using our Audio Precision analyzer and various other methods that allowed us to perfectly replicate every aspect of the sound and feel of the unit. It's important to know that the Bonsai is not a "box of mods," it is exact replications of these nine units all house in one box! The Bonsai is exact replication, not emulation. When you choose a mode on the Bonsai rotary, you are actually activating components specific to each mode and playing the unit that Josh choose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has.
Lets take a look at the 9 modes of the Bonsai based on the 9 pedals we have chosen...
OD-1 - 1977
An overall brighter and slightly higher gain mode that does not utilize the Tone knob. This mode also inverts signal just like the original and has symmetrical clipping. The OD-1 is magical at boosting other drives or amps into singing saturation.
TS-808 - 1979
The classic low gain with that signature pronounced mid range.
TS-9 - 1982
Nearly identical to the TS-808 but with a slightly more pushed low-mid range.
MSL, Power or L Series - 1985
Though metal is in the name, this sound doesn’t quite inspire the modern metal djent we think of. Still it has a higher gain sound with a more low end and an overall more gooey feel.
TS-10 - 1986
Made famous by John Mayer, this model is a slight upgrade from the TS9 for the late ’80s. Bluesy, crisp, more low end roll off and low gain.
Exar OD-1 1989
The EXAR is a Polish made TS-style pedal that has a slightly different drive character with a little more gain than the classic screamers as well as a slightly more transparent feel.
TS-7 (+mode) - 1999
The hot mode on this version gives you the highest gain sound in the Bonsai. More low end and dirt fill out the tone to have you shredding away.
Keeley Mod Plus - 2002
Robert Keeley’s classic mod tightens up the tone on the original giving you smoother mid range and high frequencies, and increased bass response.
JHS Strong Mod - 2008
Our own mod we’ve been doing since 2008 is much cleaner and overall more powerful. The mode has more pronounced higher nd low end drop offs.
With the JHS Pedals’ Bonsai you can get the classic sounds of nine Tubescreamers in one pedal. Let the Bonsai help you find your overdrive zen.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.8"x1.6".
The words Ibanez, Boss, Roland, Tubescreamer, TS9, 808, Exar, and Keeley, Audio Precision may be registered trademarks. The JHS Pedals Bonsai is in no way affiliated or endorsed by Ibanez, Boss, Roland, Tubescreamer, TS9, 808, Exar, Keeley, and Audio Precision.
JHS Unicorn V2
Sold Out
In 2015 we brought you the Unicorn V1 ...the world's first bulb-driven photocell modulator with tap tempo...our very own Uni-Vibe if you will. This Spring 2018 we are proud to bring you the Unicorn V2!
Pink Floyd’s “Breathe,” Jimi Hendrix’s “Star Spangled Banner live at Woodstock 1969," and Robin Trower’s “Bridge of Sighs” cemented the sound of a photocell-based vibe effect as an electric guitar standard. The JHS Pedals Unicorn is our version of this heralded effect, continuing the inspiring modulation/phasing/rotary sounds that never fail to push musical boundaries. And just like the originals, we included a toggle for choosing between a Uni-Vibe* effect and a traditional vibrato setting. What sets Unicorn apart from all other vibe-style circuits is that it is the first-ever fully analog, photocell-based vibe with tap tempo as well as ratio, external tap control, and external rate control via expression pedal (optional). And the Unicorn does it all with only four knobs and a mini-toggle switch. In a day and age when everything has been seen and done, we bring you the first-ever, 100% analog vibe photocell modulator with onboard tap tempo. You’re welcome.
Sounds as good as you remember
The Unicorn is bursting with all the lush and washy pulsations that changed what the electric guitar could sound like in the 1960s. And this is no digital emulation. The Unicorn sports the real-deal, analog photocell topology of the original units.
- Sounds like the originals because it’s built like the originals
- All-analog signal path delivers a warm, touch-sensitive tone
- Dry/Wet toggle selects between a Uni-Vibe* and vibrato effect
In-depth tempo control
There are other analog vibe pedals and there are pedals with tap-tempo control, but - if we’re allowed to gloat for a second - the JHS Unicorn is the first to put ‘em together. Add optional external speed control and a ratio knob that determines the rhythmic subdivisions - or as we like to say, how much fairy dust enters into the flux capacitor of the Unicorn - and you have one of the most versatile vibe pedals on the market.
- Control the rate of the effect with the Speed knob or onboard tap-tempo footswitch
- Want quarter note, dotted eighth, or triplet rhythms? They’re all found on the Ratio knob
- LED indicator notifies you of the effect’s tempo, even when disengaged
External tempo and expression control
But wait, there’s more! One of the things that makes the vintage Shin-ei* Uni-Vibes* so desirable is your ability to control the effect’s rate in real time with an external expression pedal. How could we not include that!? And to go one step further, you can slave the pedal to other tap-controlled pedals for rhythmic consistency across all your effects.
- Internal Tap/Expression mini switch controls the side-mounted Tap/Exp TRS jack
- Expression pedal control of the Unicorn’s rate in the Exp setting
- Use an external source to control the rate in the Tap Out setting (Works great with our Panther Cub Delay, Emperor Chorus pedals)
Couldn’t be easier to use
One of the things we’re most proud of with the Unicorn Uni-vibe* Photocell Modulator is how easy it is to dial up the exact pulse of a mystical Unicorn running across a field of 4-leaf clovers… but only if you dare.
- Four knobs and a mini toggle are all you need for a world of syrupy, modulated tones
- Left two controls are your tone, right two controls are your speed, toggle is your effect. It’s that simple
What's new in the V2?
The original Unicorn sounds great and works perfectly, so we didn't change a thing about it other than: its now half the size, and its a lower price point!
When everything has been done and everything has been seen, we bring you a first ever 100% analog signal path Uni-vibe* Photocell Modulator w/ Tap Tempo.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.8"x1.6".
JHS Emperor V2
Sold Out
In 2014 we brought you the Emperor V1, a 100% Analog Chorus/Vibrato with Tap Tempo. Now in 2018 we are proud to bring you the Emperor V2!
There are two ways to look at the JHS Pedals Emperor Analog Chorus/Vibrato pedal. The Emperor V2 is a vintage-correct effect that absolutely nails the hard-to-find sound of the Arion SCH-1...but its also a do-it-all modulation solution whether you want a subtle sheen, convincing rotary simulation, or seasick vibrato. It utilizes a Bucket Brigade 3207 chipset to deliver the warmth of ‘80s-style analog chorus pedals and we've added enough onboard and outboard control to put you in command of every aspect of the Emperor’s voice. Whether spreading its warm tones or icy sheen to a pristine-sounding stereo rig... or utilizing an external expression pedal to cop realistic rotary speaker sounds on a blues gig, the Emperor can do it all.
So much modulation
We call the Emperor an analog chorus/vibrato. That’s just because calling it a true analog chorus/pitch vibrato with tap tempo/waveform selection/rotary speaker simulation/true stereo output/and more pedal would have been a pain to write every time.
- The glorious tones of a real-deal, 3207 chipset bucket brigade topology
- Mini toggle switch selects between chorus and vibrato effects
- Three available waveform types (sine, square, and triangle)
- Intuitive controls for Volume, EQ, Speed, and Depth
Updated Tone Shaping Capabilities
Making a good thing better? Yes please. The Emperor V1 had a Tone control which has now become the EQ control in the Emperor V2. We've replaced the passive tone control in the V1 with an active EQ control that functions as a Tilt. You'll now have much more tone shaping capability in the V2. The overall EQ control is much improved in the Emperor V2 and you will not lose any low-end sometimes commonly found with chorus/vibrato pedals.
In-depth tempo control
To control the rate of the Emperor’s effect, simply turn the Speed knob up and down or tap the tap tempo footswitch. Or for the more adventurous among us...plug in an expression pedal for variable control in real time. And you can even slave the pedal to other tap-controlled pedals for rhythmic consistency across all your effects.
- Control the rate with the onboard Speed knob or tap tempo footswitch
- Internal Tap/Exp mini switch controls the side-mounted Tap/Exp TRS jack
- Use an external source to control the rate in the Tap Out setting (works great with our Panther Cub Delay and Unicorn pedals).
- LED indicator notifies you of the effect’s tempo, even when disengaged
A few extras
You knew we would throw in a few extra features for you, didn’t you? Of course we did. When designing the Emperor, we conveniently and inconspicuously tucked in stereo output and the ability to select between buffered or true-bypass operation.
- Plugging TRS splitter cable into the output jack is all it takes to wring true stereo output from the Emperor
- Internal switch changes from buffered to true-bypass operation**
- High-quality buffer helps drive long cable runs and in-depth pedal setups while restoring high-end loss
This pedal requires standard 9V DC Negative power, consumes less than 100mA.
There are a lot of penguins out there but only one Emperor.
JHS AT+ Andy Timmons Plus
$219.00
Price: $219
In 2016 we brought you the AT, Andy Timmons artist signature pedal and we're really proud to bring you the next iteration of this phenomenal stomp box, The AT+.
The JHS Pedals AT is Andy Timmons signature overdrive pedal that gives Andy his unmistakable lead and rhythm tone. Upon purchasing a JHS Angry Charlie in 2013, Andy began using it as his primary tone and soon after got in touch with Josh Scott about modifying it for his needs. Through going back and forth and tailoring it to Andy’s tastes, the “@“ was born and eventually released into production in 2016. This pedal gives you all the soaring overdrive and distortion that you hear from Andy with plenty of options to craft your tone with your rig. So pay ATtention and we’ll see what makes the AT rock.
Does the AT+ sound the same as the original AT?
Yes! The drive channel of the AT+ is identical to our original AT pedal. No changes were made whatsoever and the controls remain the same. They include Volume, EQ, Drive, Air, and a three-way toggle for 25-watt, 50-watt, or 100-watt modes. The Volume gives you plenty of headroom to play with, while the Drive control has a wide range from high gain blues to thunderous distortion. The tone controls work together to give you the ability to shape your tone and sit perfectly in a mix. The EQ works as a standard bright/dark tone control, while the Air control rolls in top end like a presence control so you can have just the right amount of brightness for articulation and clarity. The three-way toggle gives you the feel of different wattage amplifiers. The up position is the 25-watt setting with the most compression and saturation with the least amount of volume. The down position is the 50-watt setting for a good balance of compression and openness. The middle position is the 100-watt position for tons of volume and open crunch while being less focused.
Two channels are better than one!
New to the AT+ is an independent foot-switchable Boost...essentially creating a second channel and gain stage for the pedal. The boost side of the AT+ is a slightly dirty and overdriven pre-boost that allows you to hit the front end of the AT drive channel and achieve more saturation and definition for applications where you need more. Since the Boost is independent, it can be used alone to drive your amp or other drive pedals in conjunction with the AT+ drive channel.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.8"x1.6".
You can safely run “The AT“ at 18 or 9 volts.
JHS Panther Cub V1.5 Analog Delay w/ Tap Tempo
$349.00
– 1000 Miliseconds of Delay (1 full second)
– 100% Analog signal path
– Eight 3208 Bucket Brigade Delay chips
– Efficient and compact 1590BB size case (4.7"x3.7")
– 4 Position Ratio control (1/4, 1/8, dotted 1/8, Triplets)
– Standard 9v DC Negative power
– Soft-touch Tap Tempo switch
– Onboard Modulation (speed/depth) that stays accurate even when using Tap Tempo
– Internal "ROAR" switch for 2 modes of oscillation sensitivity
– EFX Loop (via TRS splitter) that allows placement of any effect on repeats only
– Dry Out (via TRS splitter) for stereo field of sound
– Space saving top-mounted Input/Output jacks
– True Speed LED (indicates rate of actual delay)
– Assignable Expression (control Speed, Ratio, Mod Depth, Mod Speed
– Improved and Strengthened Feedback and Oscillation
– Improved Delay overall definition and strength
– Tap Input/Output allows external tap controller or tap slaving
– True Bypass Switching
100% Designed, Populated, and Assembled in Kansas City USA
This pedal requires standard 9V DC Negative power, consumes 100mA, and measures 4.7"x3.7"x1.2"
View full product details
JHS Pulp 'N Peel V4 Compressor/Preamp
Sold Out
Price: $229
The Pulp ‘N’ Peel V4 is the truly transparent compressor pedal you’ve been hoping for and much more. Its smooth-sounding parallel compression circuit offers you the power to blend in your ideal balance of compressed and uncompressed signal. You’re able to add a touch of grit to your tone thanks to the pedal’s Dirt mini toggle. Also, whether you’re a bassist sending your signal direct or a guitarist running the Pulp ‘N’ Peel on your pedalboard, the pedal’s ¼” and balanced XLR outputs have you covered. This compressor/preamp pedal sports a ton of tone-shaping power. So no matter what your compression needs, the Pulp ‘N’ Peel V4 is your go-to solution.
The exact compression you’ve been waiting for
We know how much effort you put into getting your tone exactly right. That’s why we worked extremely hard to ensure the Pulp ‘N’ Peel V4 maintains your instrument’s natural attack, has a very low noise floor, and adds a professional polish to every chord, lead line, and note that blooms out of your amplifier.
- Improved detection circuit for smoother tones with added sustain
- Active EQ control that cuts or boosts high end
- Parallel Blend control balances your compressed and uncompressed signals
Warm studio-style grit to help you cut through
Whether you’re looking to warm up your sound in the studio or want to add some grind for the stage, flip the Dirt mini toggle and you’re there. Want to push your amp hard for even more grind? The V4 has been improved with greatly increased headroom and output on the volume control.
- Dirt voiced to go from warm tone enhancement to gritty tonal foundation
- Low-profile gain control is safely located on the side of the pedal
- Works especially great on bass
- Increased output works as a fantastic full-frequency boost
Onstage, in the studio, or anywhere else
No matter what electric instrument you play, we’ve outfitted the Pulp ‘N’ Peel compressor/preamp pedal with enough connectivity options to make it your go-to compressor in the studio, on your pedalboard, at home, or anywhere else.
- Standard ¼” instrument input and output
- XLR/DI balanced output for going direct to the board or interface (Try it on acoustic and bass!)
- Ground-lift switch avoids unwanted signal interference
- High-quality buffer switch allows true-bypass or buffered operation for driving long cable runs
This pedal requires standard 9V DC Negative power, consumes 32mA, and measures 2.6"x4.8"x1.5".
VERSION HISTORY:
V1 = only 2 knobs. no logo. VERY rare.
V2 = 3 controls, softer orange color, older orange slice logo
V3 = 3 controls, includes LBB via internal dip switch
V4 = 4 controls, added an EQ knob, Dirt toggle, XLR output
JHS MoonShine V2 Overdrive
$199.00
Price: $199
NOW SHIPPING VERSION 2!
Are you looking for an overdrive that is not transparent and adds its own character and attitude? The Moonshine V2 is for you. Our Moonshine V2 overdrive is a highly unique and massively tweaked version of the most famous overdrive ever created and housed in a little green enclosure. Blues, rock, country, jazz, and even hardcore/metal players will find this is an indispensable tool for shaping and creating unique mid heavy tones for almost any need.
The Moonshine V2 is still the core tone of the version one and retains the simple Volume, Tone, and Drive knobs. However on the Moonshine V2 we added a new Clean knob to blend in any amount of clean signal to your tone! The simple 2-position “Proof ” toggle gives you everything from low gain amp-like breakup with powerful colored boost settings to grinding, heavy overdrive that reaches to the very edge of cranked amp distortion.
In the down position, you’ll find the highest gain settings, lots of saturation and sustain and the most mid-range goo available. In the up position are the more open and forceful crunchy tones that will make any amp beg for mercy. The up position also adds more overall volume and more headroom to those searching for cleaner applications.
The tone control goes down as smooth as Grandpa’s White Lightning, with none of the harsh ice-pick characteristics that many overdrives often have in the brighter settings.
Just like our SuperBolt pedal, the Moonshine uses an internal 9v to 18v charge pump that allows it to run on normal 9v but converting it internally to 18v for an enormous amount of headroom, added low-end, and more overall punch.
We wouldn’t be surprised if this is the most girthy, thick overdrive you have ever plugged into. If you’re a fan of stacking overdrives, you’ll love putting this in front of or behind your favorite drive, booster, or fuzz. The Moonshine delivers on any style amp, easily producing anything from SRV classic Stratocaster/ Fender amp tones with class to huge“wall of rock” The Edge-style force through a Vox.
On another note, you might find a few Dumble-esque lead settings that will have you feeling like you saved a cool $100,000 in search of that sacred tone. Last but not least, it kills on bass guitar, the reason it was originally designed.
This pedal requires standard 9V DC Negative power, consumes 30mA, and measures 2.2"x4.8"x1.6"
JHS Angry Charlie V3 High Gain Overdrive/Distortion
$199.00
Price: $199
The Angry Charlie has become a staple of the JHS line over the years, and it’s a force to be reckoned with in the high-gain pedal territory. Its ability to convincingly and accurately breathe JCM800 tones into any rig has made it a popular choice for guitarists of all genres. And unlike many other British amp-in-a-box pedals, the Angry Charlie V3 sports a 3-band tone stack, just like the Marshalls, helping nail those warm yet searing tones and boundless sustain. If you are a glutton for high-gain overdrive/distortion that has a British flavor, the Angry Charlie V3 will change your life. Well, your gear life.
Furious-sounding amp in a box
Turn the Drive control down, and you might be surprised how bluesy and vintage-like this pedal sounds. But through its different versions, our Angry Charlie distortion has always been one of the more aggressive British amp-in-a-box pedals out there. Either way, you’ll be injecting your amp with the grit and attitude of the UK amplifier heads that gave rock ‘n’ roll its teeth.
- Turns any amp into a screaming Marshall stack
- Go from bluesy Hendrix-like breakup to high-gain Brit tones with a twist of the Drive knob
- Drive and Volume control interact the same as a master volume amp head
- Back off your guitar’s volume to control your gain levels without losing clarity
Marshall-style tone stack
After a couple of extremely well-received versions of the Angry Charlie, we realized that to really nail the ultimate Marshall-style tone, we had to add Marshall-style control. So we gave you a finely tuned Marshall-style 3-band EQ. Enjoy!
- Fine-tune your tone with controls for Bass, Middle, and Treble
- Active controls boost and cut their selected frequencies
This pedal requires standard 9V DC Negative power, consumes 11mA, and measures 2.6"x4.8"x1.6".
VERSION HISTORY:
V1 = larger enclosure and 3 controls, no presence control
V2 = changed to current production size enclosure and look. presence control added.
V3 = color changed to red, added 3 band tone stack, 5 controls total
JHS Twin Twelve V2 Overdrive
$199.00
Price: $199
The “Twin Twelve” channel drive is the first ever all-analog stompbox to replicate the classic tones of the Silvertone 1484 "Twin Twelve" amplifier. The pedal’s sound and response are meticulously hand-tuned to achieve a striking similarity to the tones made famous by players such as Jack White, Beck, Coldplay, and others. But that’s just the beginning. With its ability to go from a spanky, clean preamp boost to a classic growling medium/heavy overdrive, the “Twin Twelve” V2 is a great option for the do-it-all overdrive spot on your pedalboard.
Silvertone 1484 “Twin Twelve” in a box
In 1963, Silvertone* introduced the 60-watt Model 1484 guitar amplifier. Originally a student-model amplifier, the amp’s gritty and unpolished tone has since made it legendary, hard to find, and coveted by some of the biggest names in music. And now, you get to put those same tones right on your pedalboard.
- Effortlessly turn your amp into one of the most sought-after vintage amps out there
- Discrete transistor stages, hand-tuned to replicate the exact feel and tone of the 1484’s tube sound
- 2-band EQ that is almost an exact replication of the 1484's Baxandall tone circuit
From ultra-clean preamp to thick vintage crunch
If you love pedals that can perform two tonal jobs in one, you’re going to love the Dirt/Clean option we’ve added to the “Twin Twelve” V2. In the Dirt mode, you’ll enjoy the gritty amp-like tones of the cranked Silvertone. Flip the switch to Clean, and you’re instantly bathing in the sound of a clean preamp that works great as a boost or as an always-on tonal enhancement.
- Two very different, yet complementary tones in one pedal
- Powerful boosting potential, thanks to the internal charge pump that converts 9V to 18V performance
- Use the “Twin Twelve” as an amp-in-a-box, a gritty overdrive, a clean preamp, a potent boost, and much more
Red Remote compatible
You can access both the Clean and Dirt circuits right in the middle of the song by hooking up your “Twin Twelve” to a JHS Red Remote footswitch (sold separately). The Red Remote’s tiny footprint barely takes up any precious real estate on your pedalboard, while offering on-the-fly switching of the “Twin Twelve’s” two voices. Two great tones, very little pedal space. Gotta love it!
- Hands-free switching between the pedal’s Clean and Dirt circuits
- Go from clean preamp to thick Silvertone-style grit with the stomp of a switch
- Red Remote connects with a simple mono instrument patch cable
**The word/name Silvertone is a registered trademark. The JHS Pedals Twin Twelve pedal is in no way affiliated with Silvertone. JHS Pedals has applied and filed for the trademark of the word/name Twin Twelve and is awaiting official registration from the US Patent & Trademark Office.
This pedal requires standard 9V DC Negative power, consumes 34mA, and measures 2.2"x4.8"x1.6"
VERSION HISTORY:
V1 = 4 Controls, white LED
V2 = added Dirt/Clean toggle, added Red Remote system, bi-color LED
JHS SuperBolt V2 Overdrive
$199.00
Price: $199
When we released the Superbolt in 2012, we never dreamed that it would become one of the most recognized and distinguished pedals in our history. Turns out there are guitarists all over the world that are loving the ‘60s-era Supro amp-in-a-box tones that this pedal churns out. In designing the pedal, we paid very close attention to the feel and sound that made the original amps the go-to combos for players like Jimmy Page, Brian Setzer, and Switchfoot’s Drew Shirley. And with the SuperBolt Version 2, we’ve upped the ante by giving you access to our versatile Gain boost circuit via the front-mounted toggle or our own JHS Red Remote footswitch (sold separately).
Vintage amp tones with a tap of your toe
If you want to know what our SuperBolt V2 is capable of, just listen to the opening chord stabs of Led Zeppelin’s debut album. A more iconic rock tone there isn’t. And though the cranked ‘60s Supro amp tones Jimmy Page deployed will go down as legend, those sounds are only the beginning of what the SuperBolt V2 is capable of.
- Tones based on the clear and gritty tones of ‘60s Supro tube amps
- Drive knob acts in a similar fashion to the volume controls on the old amplifiers.
- Tube rectifier-like sag is increased as the Drive control is turned up
- We made sure the tone control is usable throughout the whole range
More versatile than meets the eye
Yes, when you step on the SuperBolt V2, your tone will be transformed into the glorious tones of classic rock’s heyday. But there’s much more under the hood than Jimmy’s Tele-driven rock. Back off on the Drive and Tone controls, and you’ll immediately find yourself digging into your best smokey Chicago blues licks. Or keep that drive low but crank the Volume, and you’re able to boost any amp into harmonically rich submission.
- Tone control takes you from warm and mellow to cutting and aggressive, without ever losing its musicality
- Internally converts 9V to 18V for a huge amount of headroom and punchy output
- Gain knob sweeps between darn-near-clean and amp in full-meltdown mode
Two footswitchable gain levels
By pairing your SuperBolt V2 with the JHS Red Remote (sold separately), you’re able to access the front toggle’s gritty higher-gain settings on the fly. It’s like having two SuperBolts in one pedalboard-friendly package.
- Switch to a more powerful sound with enhanced low end and grit
- Plug in your JHS Red Remote for switching between the two voices with the tap of your toe
- Handy LED changes from blue to red, indicating the status of the boost circuit
This pedal requires standard 9V DC Negative power, consumes 3mA, and measures 2.2"x4.8"x1.6".
If you love the SuperBolt, you will also love the Ruby Red 2-in-1 Overdrive/Boost pedal...check it out HERE!!!
VERSION HISTORY:
V1 = 3 controls, Hi/Lo toggle, some early stamped units had "3 stage lighting bolt," most have a 4 stage bolt
V2 = replaced Hi/Lo toggle with a Gain Toggle, added Red Remote system
JHS Morning Glory V4
$199.00
Price: $199
The Morning Glory is undoubtedly our most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. We worked hard to make it one of the most transparent overdrives out there. When you want to add some mid- to low-level grit to your crystal-clean tone, use your Morning Glory. When you want to boost a crunchy tone into thicker sustain, use your Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use your Morning Glory. When you need to switch between two gain levels on the fly...you get the idea.
Truly Transparent Tone
The best way to explain the Morning Glory is that it delivers all the tonal and responsive nuance that your amp is missing, and nothing that your tone already has. It’s difficult describing a pedal that can be set to have little effect on your tone. So just plug into our Morning Glory overdrive for yourself. Then you’ll understand.
- Gain control sweeps from completely clean to rock ‘n’ roll
- Tame high end on brighter rigs with the side-mounted bright-cut switch
- Increased headroom and output for use as a full-frequency boost
On-the-fly Versatility
An update for the Morning Glory V4 is moving the original's front-mounted bright-cut switch to the side of the pedal and replacing it with a powerful boost circuit. And by pairing your Morning Glory V4 with the JHS Red Remote (sold separately), you’re able to access the boost mid-song. It’s like having two Morning Glorys in one pedalboard-friendly package.
- Switch to a more powerful sound with enhanced low end and grit
- Plug in your JHS Red Remote for switching between the two voices with the tap of your toe
- Handy LED changes from blue to red, indicating the status of the boost circuit
This pedal requires standard 9V DC Negative power, consumes 43mA, and measures 2.2"x4.8"x1.6".
VERSION HISTORY:
V1 = bigger white enclosure with black knobs; no bright-cut switch; no logo.
V2 = changed to smaller current enclosure; gold powder coat color.
V3 = bright-cut toggle added.
V4 = 2x more headroom; Gain toggle added; Red Remote system added.