The Ibanez Tube Screamer, in its many versions and forms, can be found on pedal boards in every corner of the globe, on arena stages, in small studios, and bedrooms. Its warm overdrive is a sound many players, from advanced to beginner, could never do without.
The Flatiron Fuzz is a classic op-amp powered fuzz/distortion. With its late ‘70s style circuit and symmetrical hard clipping, it’s EHX’s take on the RAT2™ pedal, only we think it’s better. The Flatiron Fuzz is extremely versatile. At lower drive settings it remains fairly clean and adds a pleasing mild distortion. As the drive is turned up it transports you to a world of arena rock and produces spectacular, thick, meaty tones. - Classic op-amp powered fuzz/distortion - Delivers symmetrical hard clipping - As you turn down your guitar volume, it cleans up, but not all the way - Unique Filter control - Compact, pedalboard friendly design - Features True Bypass for maximum signal path integrity in bypass mode - 9-Volt battery included, also accepts optional EHX 9.6VDC-200mA power supply - Current Draw: 5mA @ 9VDC - Dimensions in inches: 2.75(w) x 4.5(l) x 2(h) - Dimensions in mm: 70(w) x 115(l) x 51(h)
Translucent Drive Manipulator Westwood is a touch sensitive translucent overdrive manipulator as clean and pure as the breeze which blows through a grove of Douglas Fir trees, and as hot as a damn fine cup of coffee. This mild-mannered light- to medium-gain overdrive with active EQ controls will still knock the socks right off your trusty low-wattage combo amp, pushing it into anything from cutting, edge-of-breakup rhythm tones, all the way to articulate, singing lead tones stacked high with pleasing even-order harmonics and sweet, sweet sustain. And if you pair it up with your favorite head and cab, you should probably call the neighbors first, because the Westwood’s Level control has enough output on tap to alert the proper authorities. Even the FBI. Each and every Westwood is a real Blue Rose case, hand built by a team of special agents in the Black Lodge of Akron, Ohio, USA, where the owls are not what they seem, there’s always music in the air, and the birds sing a pretty song.
The Nano Big Muff Pi works and sounds identical in every way to our classic NYC Big Muff Pi.
There’s a lot of hype out there these days with overdrive pedals and the last thing we want to do is to add to the noise. As you may already know, almost every boutique overdrive on the market is a modified Tubescreamer of some sort, we have decided to take a different approach. The Morning Glory is a very transparent tone-shaping tool that is the result of several years of building, gigging, tweaking and improving on the original Marshal Bluesbreaker design. We improved vastly on the BB while maintaining what made it a great pedal in the first place. It now has 5X more headroom! 2X the available gain and a more useful tone control. The new “Bright Cut” toggle allows the perfect level of EQ for your rig. You will notice immediately how touch sensitive and dynamic the feel of this pedal is. The frequencies are perfectly balanced and the tone knob reacts as a high frequency roll off. The drive allows you a huge range of tones from “little wing-ish” chime to classic rock era bite. If you’re a Strat player, this pedal will bring you sounds that you may have thought impossible and if you like the Les Paul, get ready to discover a new pallet of sounds that you want be able to live without. With enough clean headroom to be used as a boost as well as a hefty amount of drive, this may be your go-to pedal, for good.
From JHS: The Sweet Tea V3 is our "Everything Medium-to-High gain 2-in-1” and it covers all the bases from light breakup, blues, rock, heavy grind and more. The Sweet Tea V3 is for anyone who wants a versatile overdrive/distortion that covers all the bases you need plus more. You’ll find medium-to-high gain tones and the ability to stack for the perfect way to melt faces. 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 tone as the Moonshine Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal. On the left side is our newest version of the Angry Charlie which is the Angry Charlie V3, one of our most popular pedals of the last few years. High gain JCM 800 type “Brown” sound tone that we believe is the most accurate Marshall tone ever put in a stomp box! It has volume, drive, and the full bass, mid, treble tone stack like you’d find on the amp. With the full tone stack and the amazingly accurate amp tones in this circuit you’ll be begging for more! The Sweet Tea V3 features our classic order switching toggle so that you can choose which circuit is first in the chain for the perfect stacking tones you’ve been searching for. With these tones combined or used separately, the Sweet Tea V3 is a gallon-and-a-half of overdrive that goes down easy on a summer night!
From JHS: Long ago in a mysterious time that we call the 1990's, a new pedal company was created in England. Its ideas were off the beaten path, and its sounds were otherworldly. Despite existing only a few short years, these creations became the things of legend and one product in particular cast the biggest shadow. With such artists as The Edge (U2), Jimmy Page, Radiohead, Kevin Sheilds (My Bloody Valentine), Jeff Tweedy (Wilco), Gary Moore, and many others using the out-of-production units, their Used market prices have begun to rise more and more, sometimes into the $800 range. The Cheese Ball is our faithful and extremely accurate recreation of the original circuit, it is a tribute to one of the most fascinating brands and circuits of all time! The Cheese Ball has your standard Volume, Gain, and Tone knobs found on most distortion fuzz boxes, but comes with an extra mode selector knob that gives you four different overall tone and gain selections. In the “off” position, the Tone knob is disengaged, giving you a bright and trashy fuzz/distortion sound. In the “1” position you have a mid-scooped sound that will give you a Big Muff style buzz for a rounded sound reminiscent of fine mozzarella that sits just right on your pizza but doesn’t get in the way. The “2” position is a mid-boost sound that will cut through a mix like a hot knife through Velveeta. Finally, the “3” position gives you a biting, gated fuzz tone that, when cranked, spits, spats, and bites like gorgonzola naturale. The JHS Cheese Ball is our homage to one of the most excellent fuzz/distortion pedals ever created. Rediscover the finest aged cheese in the pedal world.
Features Premium Waza Craft pedal with all-analog audio circuitry Innovative dual-stage gain circuit built with discrete analog components Standard mode updates the famous MT-2 Metal Zone sound with improved clarity and lower noise Custom mode delivers full-throttle gain tones with wider range, increased dynamics, and tighter low end Powerful three-band EQ provides intense sound customization with High, Low, and sweepable Midrange and up to 15 dB boost/cut on each band Premium buffer for clean and clear tone when bypassed Made in Japan
“Architecturally” create your own rig in seconds. You can easily achieve the most sought-after tube amp sounds, and entirely new ones as well. Choose amplifier type, modification and speaker cabinet/mic placement configurations. You can easily mix and match specific sound characteristics in ways that would otherwise be physically improbable, probably impractical and definitely not cost effective. The GT2 is a truckload of great amps in a single, simple pedal.
For the pro on the go, the VT Bass DI covers a lot of ground in a small footprint. This multi-function, multi-application format features three different outputs. You can complement your current rig, record direct, drive power amps and go direct to the PA. Just throw it in your gig bag and you’re ready at a moment’s notice. DRIVE adjusts the overall amount of gain and overdrive, similar to when the output section of a tube amp is being pushed. CHARACTER sweeps through an entire range of tonal possibilities associated with Ampeg®-style amplifiers. In addition to modifying the frequency response, the Character control also influences the attack and drive characteristics.Therefore, you may need to adjust your gain and tone settings after tweaking the Character control. Settings below 12 o’clock will give you the ‘70s powerhouse,the SVT. Around 12 o’clock will introduce you to the studio staple, the flip top. Above 12 o’clock increases the gain and crunch for less polite, modern rock, indie bass sounds. Full up gives you distorted bass tones from Yes to Crimson to King’s X styles. MID, LOW, HIGH. Unlike passive controls that only cut, these active tone controls cut or boost ±12dB from unity gain (12 o’clock). Mid is 500 Hz. Low is 125 Hz. High is 3.2kHz. BLEND allows you to blend the direct instrument signal with SansAmp Tube Amplifier Emulation circuitry. In most cases, you will probably have this set at maximum (100% SansAmp). For certain applications, however, such as an ultra-transparent sound or for use with piezo pickup-equipped instruments, you may want to blend-in the direct signal to achieve your desired sound. Note: When Blend is at minimum,the SansAmpTubeAmplifier Emulation circuitry is bypassed. However,the Mid, Low, High and Level controls remain active. LEVEL adjusts the output level of both the 1/4” and XLR outputs.
The Supro Drive pedal sports a simple control layout with Volume, Gain and Tone knobs as well as a toggle switch to select between the different windings of our custom, multi-tapped output transformer—either for high-headroom BOLD sounds, or more compressed, high-gain RICH tones. Taking the overdrive pedal platform one step further, the Supro Drive offers a TRS port for expression pedal control of the GAIN knob. With the expression pedal in use, the on-board GAIN knob sets the maximum value, while a user-adjustable, internal trimmer sets the minimum gain setting. All Supro pedals are assembled in Port Jefferson, NY, USA, featuring custom-tooled, anodized, brushed-aluminum enclosures, 9V battery or DC powered operation, rear-mounted metal jacks, easy-access side-mounted battery drawer and studio-friendly, noiseless (click-free) true-bypass switching. Emulates a Class-A Supro amp from end to end. Achieves magnetic saturation via output transformer Switchable RICH or BOLD transformer windings selection Expression pedal control for GAIN
Fiery sounding and flexible, the Pugilist Distortion is ready to add some heavyweight gain to your rig. This original design features dual gain engines—with independent tone controls for each—letting you select multiple variations of distortion, ensuring this pedal will play well with any rig. Series/Blend switch lets you stack channels for thick, cascading distortion, while the Bass Boost switch fattens up your tone. The Blend control mixes the two channels to get the best of both worlds, crafting a sound just for you. Dual gain engines Discrete tone controls per channel LED backlit knobs Fender Amp Jewel LED Magnetically latched hinged 9V battery door Lightweight durable anodized aluminum construction
We helped generate the classic guitar tones that inspired players to create new music, and now with the Santa Ana Overdrive, we’ve brought our expertise to stompboxes. Armed with FET technology, this pedal lets you dial in sounds varying from “just a little hairy” all the way to thick, fully saturated overdrive. The flexible tone controls unlock a wide range of sonic flavors. This pedal cleans up with the guitar’s volume control, just like our famous amplifiers. FET technology for tube-like performance ‘A’ and ‘B’ overdrive voicings LED backlit knobs Fender Amp Jewel LED Magnetically latched hinged 9V battery door Lightweight durable anodized aluminum construction The Santa Ana Overdrive requires a 9V DC (center negative polarity) power supply with at least 150mA of available current.
Millenium Overdrive Represent the new millenia with this brand new take on our coveted Barbershop. Have you ever sat in a barber's chair wishing your tone was as slick as your freshly shaved upper lip? With the Barbershop Overdrive on your pedalboard, you could keep your moustache and sound good doing it. Less is more with this simple, original design. Handmade from JFETs matched to specs, this versatile pedal will treat your pickups with the respect they deserve. In return, they’ll thank you with some of them sweet tones.
Power Amp Distortion Welcome to your new Acapulco Gold™ Power Amp Distortion! The Acapulco Gold is a dirt-simple distortion Device modeled after the sound of a cranked vintage Model T amplifier, bringing the openness, clarity, and crunch that only a dimed tube amp can provide, at a fraction of the size, and without expensive maintenance costs! Since tone is in the hands, we decided to keep the controls of the Acapulco Gold as simple as possible. The footswitch turns the pedal on and off, and the giant knob controls the output volume. That’s it. The rest is at your fingertips. Want less gain? Turn down your guitar’s volume knob. Need a darker rhythm tone? Roll back your guitar’s tone control. Easy, right? With your guitar’s volume all the way up, the Acapulco Gold roars like a wide-open Model T on the verge of explosion. At just-barely-backed-off, the Gold becomes a raunchy overdrive. At minimum guitar volume settings, the Acapulco Gold delivers a hazy, Nashville-sounding spank to your tone. How about this? If your guitar has separate volume and tone controls for each pickup and a three-way selector switch, this little one-knob banger becomes a three-channel tone monster at the flick of your wrist! Each Acapulco Gold is made part-by-part, wire-by-wire, giant knob-by-giant knob with real, live humanimal hands in our gilded manufactory located in gray olde Akron, Ohio USA. Controls Big Knob: The big knob sets the output level, sometimes known as Volume. PLEASE BE CAREFUL! The Acapulco Gold is extremely loud! Measures 4.75″ x 2.50″ x. 2.25″ with knob Switching This device is true bypass and uses electronic relay-based switching. Audio will not pass without power. Power This device can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES! Current Draw: 18mA Input Impedance: 50K Ohm Output Impedance:
EHX is commemorating their 50th Anniversary with the re-release of Triangle Big Buff V1, the very first Big Muff. The new Triangle Big Muff is a faithful re-creation of the original circa 1969 circuit now housed in a pedalboard friendly, die-cast chassis. With a nod to modern convenience, the Triangle Big Muff features an LED to indicate effect status, true bypass switching, and the option of being powered by a 9-volt AC adapter. Quick Specs The authentic V1 Triangle Big Muff reissued in a nano-sized chassis Effect status LED True bypass Vintage look and graphics Comes with a 9V battery, also accepts an optional EHX 9.6DC200mA PSU
Based on a rare and elusive circuit, the MXR Sugar Drive provides a diverse range of clear and transparent overdrive tones, from sauced up boosting to blown-tube distortion. THE LONG STORY. The MXR Sugar Drive provides a diverse range of clear and transparent overdrive tones, from sauced up boosting to blown-tube distortion. It’s based on a rare overdrive pedal that has acquired a mythical reputation among fanatical tone-seekers thanks to its unique circuit design. The key elements of that circuit design are the Drive control and something called a voltage doubler. First, the Drive control on this pedal doesn’t just increase the intensity of the overdrive pedal. It starts with your clean signal and then blends it with the overdrive effect as you turn it up, replicating the smooth transition of an amplifier going from clean to dirty. The voltage doubler increases overall headroom, which opens everything up nicely. Of course, we had to put the MXR touch on this circuit. If you’re all about true bypass, then you’re in luck—this pedal uses it by default. The original used buffered bypass, though, and we know there’s a lot of players out there who don’t want to fix something that isn’t broken. They’re in luck, too—just flick the Buffer switch on the side of the pedal to enable buffered bypassing. With a simple three-knob setup and an MXR mini housing, this is the go-to overdrive to have on your pedalboard. It’s versatile and it saves space, and unlike the original pedals it’s based on, it won’t cost you thousands of dollars.
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 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 housed 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 chose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has.
Overdrive Pedal Aces the bluesy tone of one of the greatest players ever to walk the earth. Fattens up signal without loss of clarity or voice. Adds push and fatness to single coil or humbuckers. Plenty of boost for crunch rhythm or solos. If you can take only one pedal into the studio to record your dream tune, make sure it is this one.
Overdrive Pedal Money talks. But this Cow screams! Chunky, full-bodied chords leap from the amp with note for note clarity. From oversaturated to classic tones. Cleans up with guitar volume control. Huge low end. Bright chimey highs. It is all here. Welcome to the land of milk and honey!
So, what IS the story on Wave Cannon® version 2.0, or as we’ve decided to call it, the Wave Cannon MKII Superdistorter? The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units. It’s different than the original, which was based on the classic ’70s fuzzstortions we grew up playing. It’s different from our Haymaker™, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off. While it can do some extremely cool mild-to-medium crunch tones, Wave Cannon II is really capable of overwhelming your amp. The focus (mids) and tone controls are different from what we’ve done before and can give you a really broad range of textures and voicings. There is a LOT of gain and volume on tap, as we’d been infuriated in the past by great sounding classic distortion pedals we’ve owned that didn’t go far enough with clean amps, or were quieter than unity gain or the bypass signal. The rumble switch allows more low end if you want it, or lets you tighten things up if you don’t need it.
When the opportunity to work with StuG came about (legendary guitarist, writer, producer, and founding member of UK band Delirious) we couldn’t pass it up. Right out of the gate Stu G wanted a dirt box that could essentially cover any-and-all ground he needed for his studio work and extensive touring gigs. From that request the Kilt was born, and for the V2 we have refined it to be a compact and versatile tone-machine. The Kilt V2 still has the fantastic circuit at the heart of the version one: a heavily tweaked Expandora style dirt box that gives you more tonal options than you might ever be able to use. We use a specifically chosen op-amplifier that offers super low noise, improved slew rate for a smoother structure, and a character that just feels better than the original Expandora. Then there are three toggles that enhance the tweak-ability even further. The cut/flat toggle gives you the option to cut the low end frequencies to better sit in the mix. When in the “flat” position, the bass response is much beefier than the original Expandora for those heavy guitar riffs or bass grit. The G1 and G2 toggles let you select various forms of distortion via select resistance values that switch in and out in the clipping section of the circuit. This method is very different than your normal diode clipping selectors that you commonly see on drive pedals. This gives you multiple configurations and tonal options, helping the Kilt V2 cover light transparent drive all the way to a wall of fat fuzz/distortion and everything found in-between. When both toggles are down, you are in the lightest gain setting. Amp-like chimey breakup. G1 flipped up adds a touch of drive for more riffy grit. G2 flipped up puts you almost into distortion land, with more saturation and sustain for lead tones. Both toggles flipped up sends the Kilt V2 into almost uncontrollable gated fuzz/distortion that will cut through anything. For the V2 we have added the ability to switch the G2 toggle with a Red Remote! This gives you the ability to flip into heavy overdrive or fuzz with a footswitch on the fly, making the V2 just as versatile as the V1 but more compact. So put on your Kilt and raise a pint to rock and roll!
Well known for his breakout work in the Marvelous 3, as well as production credits that include Weezer, Taylor Swift, Katy Perry, Ryan Adams, and many more, Butch Walker is one of the most in-demand guys in the industry. Consequently, he’s also one of our favorites. So when he let us know that he had been using JHS pedals in session after session, we knew we had to work with him. Walker primarily gravitates toward the SuperBolt for the way it responds like an amp, but also feels like it is an extension of his amp. So we shoved one right into his new Ruby Red Signature 2-in-1 Overdrive/Fuzz/Boost. Then we added a 2-stage boost that can be placed before or after the overdrive circuit, opening up everything from a clean boost to punish your amplifier to wooly fuzz tones that will dominate your mix. Walker needs one pedal that can do everything in the easiest way possible. With the Ruby Red, he has one.
The Rewolver is a multi-fonction JFET Driver. You got two Boosters in cascade (POW, POW) controlled by a Master Volume (BANG). That gives an infinite number of settings depending on which knob you choose to crank up. Turning up the Boosters give you a sweet saturation from the transistors, and the Master Volume makes the amp break up. You'll be impressed by the versatility of this small footprint pedal. Use it as a Distortion or as an Overdrive in the beginning of your effect chain, or use it as a clean boost at the end. A world of options in this pedal!
This is a kind of 2 in one pedal, an OD/Booster. Set the GAIN very low and turn up the OUTPUT to boost your signal, or set the OUTPUT at 9 O'Clock and make your signal be driven by the GAIN knob. Both get you a stunning sound! As you introduce some gain to your signal, the clean/dry sound will be blended in a magical way! Try to find where you're gonna stand!
A versatile, multi-instrument capable, stereo overdrive/distortion with a broad range of sound options and controls. With the Operation Overlord, whether you play guitar, bass, keyboards or pretty much any electronic instrument—-dialing in great drive sounds is fast and foolproof. Whatever your rig, the Overlord is your indispensable ally.
The MXR Double-Double Overdrive serves up two classic overdrives in a single housing. Changing between the two is as simple as a flick of the Lo/Hi switch: the Low Gain circuit belts out rich, fiery midrange tones while the High Gain circuit kicks up the gain and emphasizes highs and lows. Use the Treble and Bass controls to season your overdriven sound, and then crank the Level and Drive controls to turn the heat up to your liking. The MXR Double-Double Overdrive comes in a road-ready housing with true bypass switching.