Carrying on the POLYTUNE legacy, POLYTUNE 3 MINI packs an unprecedented amount of tuning power into a tiny footprint without sacrificing essential features, such as always-on mode and our audiophile BONAFIDE BUFFER circuit for uncompromised tones – making it ideal for fully-loaded pedal boards where every inch counts!
Tiny polyphonic tuner gives you fast, accurate tuning and a high-quality tone tool in a single unit
Quickly tune up with polyphonic, chromatic and strobe tuning modes
Built-in BONAFIDE BUFFER keeps tone crisp through long cables and large pedal boards
Polyphonic mode tunes all your strings at once
Lightning-fast chromatic tuner
Extra-small enclosure easily fits on any pedal board
Ultra-precise strobe tuner with ±0.02 cent accuracy for ultimate tuning performance
Premium buffer with a 1 MΩ input, 100 Ω output and extremely high >112 dB signal to noise ratio
Switchable true bypass / buffer modes optimize signal integrity for any setup
"Always on" mode for tuning even when not muted and playing
Super-bright 109-LED display provides clear readouts in all viewing conditions
Automatically goes from polyphonic to monophonic tuning based on how many strings you play
3-Year Warranty Program*
Designed and engineered in Denmark
Dial and lock in your sound settings with D’Addario’s easy-to-install Loknob. Once in place, simply rotate the knob to click into the sound you need. For larger sound adjustments, simply lift the knob, rotate to your desired sound, then release. Loknob retrofits to most amplifiers, effects pedals, instruments, and live/studio gear and is available in two sizes and a variety of colors.
D'Addario is known for innovative, problem-solving, quality musical accessories and offers a complete line of award-winning accessories including cables, picks, tuners, capos, straps, humidifiers, maintenance tools and more.
Wren and Cuff Garbage Face J Mascis signature pedal.
UPDATE: In-Stock- Shipping Today
A bonafide guitar legend by any standard, his band, Dinosaur Jr., toured with and influenced many of the bands that defined the 90’s. Bands like Nirvana, Sonic Youth, Mudhoney, and too many others to count. Ask nearly any punk or grunge band from that era (and most today) if they’ve heard of J Mascis and you’ll get a look like you’re a fool for even having to ask. His association with the Big Muff is well documented as one of the main building blocks of the Dinosaur Jr. sound. So it is understandable that the muff experts at Wren and Cuff would be the ones calling when the idea for a signature pedal came about.
After more than 2 years in the making, that pedal is finally here. A part-by-part recreation of J’s number one muff since 1987, a 70’s EHX Ram’s Head, which is not just any Ram’s Head. J’s pedal is an odd bird with parts values that are “incorrect” and component values that have drifted far from their original values during its 50 year journey. On the other side of the pedal, a replication of his favorite germanium treble booster that J uses to slam the input of said muffer. And nestled in between the two is a wonderfully simple but incredibly useful tool... A second volume knob with a footswitch to let you bounce between two muff outputs!
• Faithful recreation of J Mascis’ favorite muffer
• Vintage germanium transistor treble boost
• Selectable output volumes
• All true-bypass operation
• Artwork by Thom LessnerView full product details
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
When it was introduced in 2010, the original POLYTUNE forever revolutionized the way musicians tune their instruments. Praised by professional and amateur players, guitar tuning instantly became as simple as Strum - Tune - Rock! So how do you make the best-selling polyphonic tuner even better? You take it to the next level by: providing multiple tuning modes, including polyphonic, chromatic, strobe and a variety of altered tunings; adding an onboard BONAFIDE BUFFER to preserve your tone over long cable runs and pedal board signal paths; and upgrading the LED display for even higher tuning accuracy. Say hello to your next tuner – POLYTUNE 3.
IN STOCK & SHIPPING!
Germanium fuzz has a long history in the world of musical effects. The nature of germanium and its variability and temperament make it an interesting parallel to the musical mindset of the creators who utilize it. Sometimes smooth and warm, sometimes harsh and unpredictable, always sensitive and nuanced, germanium is an element of reflection. A mirror into its users. This range and scope is on full display with the newest version of our flagship fuzz pedal, the Sputnik III.
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Complex textures, gritty crunch, beautiful sustain and character. It’s all there waiting for you to discover. As with all Spaceman pedals, the Sputnik fuzz series is an homage to the golden era of electronics and is brimming with vintage soul. Utilizing a NOS Soviet germanium diode and transistors, we’ve gone to great lengths to ensure the Sputnik III lives up to the reputation of its predecessors.
Characteristic of germanium fuzzes, all of the controls are quite interactive and a wide variety of sounds can be observed with experimentation. The Sputnik III incorporates the best features of both previous pedals. The transformer based pickup simulation of the Sputnik II ensures that the Sputnik III will behave anywhere in your signal chain. The footswitch actuated DRIFT mode has also been taken from the Sputnik II and enhanced with optional momentary functionality. DRIFT mode and SCAN control allow you to unleash the fury and unpredictability of the Sputnik III. With careful use of playing dynamics and control settings, DRIFT mode can yield a nearly infinite range of truly unique sounds. The tone control is a mix of both its predecessors. The toggle switch offers mid-scooped and flat settings in conjunction with the wide-range CALIBRATE tone control. Relay based soft-touch switching provides more durability and flexibility than ever before. Housed in a durable cast aluminum enclosure, the mid-sized form factor allows for an enhancement in function over the original Sputnik, and an enhancement in practicality over the Sputnik II. Step into your inner world and discover a new wellspring of creativity and boundless possibility with the Sputnik III.
Hand-wired and built in Portland, Oregon, the Sputnik III features true-bypass relay switching with a soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space.
The first Automatone.
What happens when you combine the DNA of Benson Amps’ Chimera in a box Preamp with a little fuzz, some of Condor’s resonant parametric mids, and full blown preset control from your friends at Chase Bliss Audio? The Preamp MKII. Built in collaboration with Chris Benson from Benson Amps, and known around here as the first Automatone.
This baby has variable diode clipping control (transistor only, silicon, and asymmetrical germanium), fuzz you can swap from open to gated, three mids resonance settings with variable routing you can place before or after the preamp, and three banks of ten presets each that give you thirty presets to set at your leisure.
But what’s an Automatone, you ask? It’s a pedal built with motorized faders that adjust automatically – and a little magically – as you cycle through presets. Check out the video below to learn more and see it in action.
Iridium gives you three iconic amplifiers, with a total of nine impulse response speaker cabinets that complement the tonality of the amp. Skip the hassle of lugging around or miking amps. Place Iridium on your pedalboard and send gorgeous stereo amplifier tones, stunningly realistic cabs, and lush room ambience direct to a recording interface or PA system. With Iridium, it’s a snap to dial in a direct tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones.
Our Matrix Modeling™ process captures all the subtleties and unique tonal qualities of each amplifier. We’ve taken three iconic tube amps with distinct characters and mathematically modeled every aspect of their circuitry with absolute precision to deliver the response, feel, and inspiring experience of playing through the original amps at their best. Taking the process a step further, we’ve hot-rodded each amp to provide an extended range of tonal options beyond what was available from the original designs.
Iridium’s speaker cabinets offer a level of realism and responsiveness unprecedented in outboard effects. Iridium delivers full stereo 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses. Until now, IRs of this resolution have only been available for use within studio recording software. Iridium’s breakthrough technology means you can use the very best impulse responses available, bringing maximum realism to your pedalboard.
Iridium’s hybrid room reverb combines a 256 millisecond stereo impulse response with Strymon’s reverb tank algorithm for extended decay. This combination places your amp and cab in a natural sounding room (small, medium, or large), creating a space for your amp to open up and breathe.
Iridium comes pre-loaded with a carefully curated collection of premium cabinet IRs from OwnHammer, Celestion, cabIR and Valhallir. You can also load your own IRs using Strymon Impulse Manager software.
Deluxe Reverb® 1×12″ by OwnHammer
Impulse of a vintage Fender® Deluxe Reverb 1×12″ open back combo with a 1978 Fender CTS ceramic 12″ speaker.
Blues Junior® 1×12″ by cabIR
Impulse of a 1×12″ Blues Junior cabinet with a Jensen® C12N speaker.
Vibrolux® 2×10″ by cabIR
Impulse of a 1965 Fender Vibrolux 2×10″ with Jensen C10NS speakers.
AC30 2×12″ AlNiCo by OwnHammer
Impulse of a Vox® AC30/6 open back 2×12″ combo with 2001 Celestion® T0530 Blue AlNiCo speakers.
1×12″ AlNiCo by Celestion
Impulse of a Celestion Blue AlNiCo speaker in a closed back 1×12″ cab.
Mesa® 4×12″ by Valhallir
Impulse of a 4×12″ Mesa Boogie halfback with two Celestion Black Shadow® MC-90 and two ElectroVoice® Black Shadow EVM12-L speakers.
GNR 4×12″ by OwnHammer
Impulse of a 1971 Marshall® 1960B “basketweave” 4×12″ cabinet with 1971 Celestion T1221 G12M-25 speakers.
2×12″ Vintage 30 by Celestion
Impulse of a Celestion Vintage 30 in an open back 2×12″ cab.
Marshall 8×12″ AlNiCo by cabIR
Impulse of a 1965 Marshall 8×12″ re-issue full stack cabinet, with Celestion T652 AlNiCo speakers.
Want to play live with the exact same tones that you use at home or in the studio? Or have access to multiple amp and cab setups without having to lug them on stage? Leave your amps at home, and connect Iridium directly to the house PA system.
Going direct eliminates the need to mic an amp, giving sound engineers the option to send your amp and cab tone directly to a wedge or in-ear monitors. Instant adjustments to your tone are right there on your pedalboard, only a footswitch away. With Iridium, there are no menus to wade through—just familiar, responsive amp-style controls for instant, easy adjustment.
With Iridium, it’s easy to dial in a direct guitar tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones. In this video, we take a look at the direct environments where Iridium shines.
Delivering the complete experience of playing into an amp through a miked cab in a room is a research and development project that has been years in the making. The amp development began in the tube emulation and cascading gain stage topography created for Riverside, and then majorly leveled up for the intense degree of real-time calculation Matrix Modeling™ required to create Iridium’s amps. We’re not just talking about the perfectly recreated tone stacks, but also things like the treble bleed on the gain controls, multi-stage power supply sag, and preamp and power amp tube emulation.
Our talented and tireless engineering team covered quite a bit of new ground on the way to recreating these classic amp designs with exact mathematical fidelity, and then expanded the capabilities of each amp in musically useful ways, giving you the full range of original amp sounds, and then some.
Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them. Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume. Play whatever you like, you're the only one who can hear. Or a buddy can plug into the additional Headphone output. Headphone output is mono out.
Two 1/4 Headphone Output jacks allow two users to simultaneously listen.
***Not to be used as a normal amplifier pushing cabinets. Outputs are only intended for Headphone use.***