Comme vous le savez déjà, presque tous les overdrives boutiques sur le marché ressemblent à un Tubescreamer modifié. Ce modèle comporte une approche complètement différente. La "Morning Glory" est une pédale très transparente qui est le résultat de plusieurs années de recherches à peaufiner et à améliorer la conception originale du Marshal Bluesbreaker. Cette pédale possède 5 fois plus d'espace libre (headroom) et 2 fois plus de gain avec un contrôle de tonalité plus utile. Le nouveau bouton "Bright Cut" règle parfaitement les bonnes fréquences d'égalisation qu'on peut s'attendre de cette fonction. Vous remarquerez immédiatement comment le toucher est sensible et le niveau de dynamique que cette pédale possède. Si vous posséder une Stratocaster, cette pédale vous apportera des sons qu'on pouvait penser impossibles à obtenir. Si vous possédez plutôt une Les Paul, préparez-vous à découvrir une nouvelle palette sonore avec laquelle vous ne sere plus cabable de vous départir.
De 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!
Are you on the search for scary good tone? Does your spine tingle at the thought of a tone that can cut through any mix like a butcher’s knife? Do you have nightmares about muddy guitars that lack clarity and create phantom lead lines that no one can hear? Well, don’t stand there frozen by fear, we here at JHS Pedals have a pedal that gives you the tone that has long eluded your white knuckled grasp: the Haunting Mids. The Haunting Mids is a frightfully effective Sweepable-Mids EQ Preamp that can turn any amp or pedal into a ghastly monster. With it’s ability to sweep mids and then boost or scoop them, you can find the tone that haunts your imagination. The controls on the Haunting Mids are Volume, Mids, Sweep, and a Lo/Hi toggle. The Volume acts as a standard volume control to be able to set at unison or boost the signal. The Mids and Sweep controls work very closely together so you can find the perfect frequencies to boost or scoop mid frequencies. When the Mids knob is at 12 o'clock, no frequencies are boosted or scooped. Turning the Mids knob to the left of 12 o'clock will begin to scoop out midrange frequencies, while turning the Mids knob to the right of 12 o'clock will begin to boost midrange frequencies. The Sweep knob controls the what frequencies will be affected. Sweep knob to the left will cause low-mids to be affected, while Sweep knob to the right will cause hi-mids to be affected. The Lo/Hi toggle is like a "Q" function and controls how sharp the frequency peak is that you’re affecting with the Mids knob. "Lo" is a softer and wider peak for slightly subtler affect as you tweak the Mids/Sweep knobs. "Hi" is a sharper and steeper peak giving you a very pointed and defined effect as you tweak the Mids/Sweep knobs. This pedal is fantastic on an almost-breaking-up amp to send it into midrange tube driven heaven, or with an overly scooped distortion to give you the bite you need to cut through with every "djent," blues lick, rock riff, or lead line. It's also excellent for taming an overly mid-heavy amp or pedal rig. The Haunting Mids is not an overdrive pedal, it’s a Mids pedal that when paired with an overdrive, will make you scream for more of this friendly ghost. – Simple yet effective tool to boost/cut the perfect amount of midrange frequencies. – Sweepable midrange frequency to find the perfect EQ to slice through any mix. – Turn any amp or pedal into a totally different ghastly monster. – Don’t forget the Volume BOOOOOOst. So go and wake the undead with the ghostly sounds of the Haunting Mids! SPECS - Will boost +10dB with EQ flat - Total Harmonic Distortion 0.007% - Signal to noise ration 83dB - +/- 15dB boost or cut - Sweepable center frequency from 400Hz to 7.5kHz - Switchable Q (LO-gentle broad, HI-peaking tight) This pedal requires standard 9V DC Negative power, consumes 13mA, and measures 2.6"x4.8"x1.6"
Pédale de chorus/vibrato Fonctionnement analogique Bypass sélectionnable True/Buffered Fonction Tap Tempo Contrôles: Volume, Tone, Speed, Depth Sélecteur de mode Chorus/Vibrato Sélecteur de la forme d'onde de l'effet (sinusoïdale, rectangulaire, triangulaire) Commutateur miniature interne pour sélection du Bypass (True/Buffered) Commutateur au pied Bypass Commutateur au pied Tap Tempo LEDs de statut Boîtier en métal Entrée sur Jack mono 6,3 mm Sortie sur Jack stéréo 6,3 mm (pour splitter le signal en Dry/Wet) Entrée sur Jack stéréo 6,3 mm Expression/Tap-Tempo Aucune possibilité de fonctionnement avec pile Nécessite un bloc d'alimentation optionnel non-fourni (N° d'article 409939) Consommation inférieure à 100 mA Dimensions: 127 x 66 x 54 mm Poids: 290 g Fabriquée aux USA
Pédale d'overdrive 9 modes d'overdrive Tube Screamer 7 circuits TS classiques et 2 Mods populaires Fonctionnement analogique True Bypass Contrôles: Volume, Sustain, Tone Sélecteur rotatif do mode Tube Screamer 9 positions: OD-1, TS-808, TS-9, MSL (série Power ou L), TS-10, Exar OD-1, TS-7, Keeley Mod Plus, JHS Strong Mod Commutateur au pied Bypass LED de statut Boîtier en métal Entrée et sortie sur Jack mono 6,3 mm Aucune possibilité de fonctionnement avec pile Nécessite un bloc d'alimentation 9 V DC (fiche cylindrique 2,1 x 5,5 mm, polarité négative à l'intérieur) optionnel non-fourni Consommation inférieure à 100 mA Dimensions: 121 x 56 x 41 mm Poids: 260 g Fabriquée aux USA
De JHS : In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before. The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease. Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute. JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. 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 elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.) The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix. The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who). The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails). The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM). The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play. With a pedal so stuffed with tasty tones you will have a hard time needing anything else to curb your appetite. "I want to give a massive thank you to my good friend Jon Cusack and Cusack Music for helping this hefty idea be fully realized. Jon y
De Jhs: Every guitarist loves the sound and feel of a Marshall JTM45 amp head. And with the JHS Pedals Charlie Brown V4 amp-in-a-box, you can put that same thick, chewy, old-school rock tone onto your pedalboard. In fact, we even outfitted the pedal with a Marshall-style 3-band tone stack to achieve a tone that would please Clapton himself. Whether you’re trying to replicate the Woman Tone, the character of Hendrix’s cranked walls of Marshalls, or Gary Moore’s higher-gain sound, they’re all waiting for you in the Charlie Brown V4. Grab one today, and turn your rig into a legendary JTM45. Vintage British crunch for your pedalboard More and more, guitarists like you are leaning on pedals to supply their overdriven tones. They need stompboxes that will completely change the character of their amplifiers on a dime. For vintage crunch and British attitude, there simply isn’t a better pedal than our Charlie Brown V4. Turns any amp into a gritty JTM45 stack Go from ‘60s-style crunch to thick and liquid rock 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 To really nail the ultimate JTM45 tone, we added Marshall-style control to the Charlie Brown V4 overdrive. Now, not only will this pedal mate perfectly with your current clean amp tone, but you’ll be able to find the exact JTM45 sound you need for your application. And because the Charlie Brown reacts just like a classic tube amp, it’s even a perfect candidate for stacking with another overdrive. Fine-tune your tone with controls for Bass, Middle, and Treble Active controls boost and cut their selected frequencies Stacks beautifully with overdrive pedals for even more shades of grit
De Jhs: 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 ***The JHS SuperBolt pedal is in no way affiliated with Supro USA company
De Jhs: 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. 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 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 lurk 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 exibility, due to the order switching toggle that lets you decide what pedal comes rst in the signal chain. 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!
De 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.
The JHS Pedals Kodiak Tremolo is the newest addition to our tap-tempo series featuring all the bells-and-whistles you need to create the biggest tremolo growl you’ve ever heard! Based around classic Vox and Black Face tremolo sounds, the Kodiak brings vintage tremolo into the modern era with four different wave patterns, Mix, onboard tap-tempo, and sub-divisions to give you total control as well as plenty of inspiration to bring your sound out of hibernation. Let’s take a look at all the features this brown beast bears... The Kodiak has five simple controls: Volume, Speed, Mix, Ratio, and Wave. The Volume control enables you to set the overall volume however you like it, either dialed back, at unity, or boosted. A great feature of the Kodiak is that you can turn the Mix knob all the way down and use the Volume to boost your amp or other pedals, acting as a preamp or slightly driven boost. The Speed knob is a manual control for the speed of the tremolo, which you can also set with the on-board tap-tempo switch. The Mix knob controls how deep the tremolo is perceived, from fully clean to fully wet. The Ratio control gives you the ability to dial in faster speeds that are perfectly sync'd with the BPM of your tap. You can choose from quarter notes, eighth notes, "triplets," or sixteenth notes. The Wave control gives you four different wave variations to choose from: Sine, Rhythmic, Square, and Ramp. The Sine wave is a classic amp-like tremolo sound, the Rhythmic wave gives you an interesting rhythmic pattern that can be used in many different time-signatures for different effect, the Square wave gives you a more choppy trem sound, and the Ramp wave gives you a warbly type of sound. With all these options, sit down, grab a jar of honey, and spend lots of time with your new bear-friend to really get to know what he has to offer! The Kodiak also features a Tap/Expression jack on the right side of the pedal. Plug in an external tap tempo or an expression pedal to control the speed of the tremolo. Select either TAP or EXP via the switch on the left side of the Kodiak. It’s time for you to wrap your tone in the warm bear fur of the Kodiak! This pedal requires standard 9V DC Negative power, consumes 10mA, and measures 2.6"x4.8"x1.6"
Spring has come and we here at JHS bring you the washed out layers that only true amp style spring reverb can give you in the Spring Tank. This compact reverb pedal brings you an arsenal of settings to tweak, yet with utilitarian simplicity and usability. The Spring Tank gives you the ability to create the perfect spring reverb for your sound with controls for Depth, Length, Highs, Boost (to control your overall volume), and two independent and switchable reverb mixes called Tank 1 and Tank 2. The Depth controls the size of the room, while Length controls how long the reverb reverberates. Highs gives you the ability to control the tone of the reverb by adding or subtracting high frequencies. Tank 1 acts as your main reverb mix control, while Tank 2 is your secondary mix control engaged by the Tank 2 switch. So you have two reverb mix options on the fly! We’ve also added a Boost control so you can regain any perceived volume loss from the reverb. Dial in the perfect reverb with Depth and Length controls. Set your primary reverb mix with the Tank 1 control. Set your secondary reverb mix with the Tank 2 control and switch it on the fly with the Tank 2 switch. Set the reverb tone with the highs control. Boost your overall volume with the Boost control. The Spring Tank has an effects loop so you can put any effect on the reverb tails only. This gives you the ability to create amazing soundscapes with different effects. Just plug in a TRS splitter cable into the effects loop jack and insert any pedal into the loop and you're set. There is also an internal switch to choose to have the effects loop on only when Tank 2 is engaged or on all the time. With options a plenty and easy to use controls, blast your signal into the stratosphere with the Spring Tank!
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!
C'est une collaboration avec Butch Walker, connu pour son travail avec les Marvelous 3 et ses succès en tant que producteur. Quand il n'est pas en studio, il est sur scène ! Il adore la SuperBolt et il avait besoin d'une pédale qui pouvait avoir la même réponse qu'un ampli et agir comme si c'était l'extension de son propre ampli. Le côté gauche est la SuperBolt avec ses mêmes réglages et un switch + qui ajoute de la compression et du gain. Le côté droit est un circuit de boost à 2 étages et personnalisé avec un réglage Boost dédié. Le switch de droite permet de choisir l'ordre des 2 effets. La Ruby Red sert à améliorer votre son comme elle peut servire de booster, d'overdrive, de distorsion et même de fuzz.
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 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.
De JHS : JHS Pedals and boutique guitar pedal legend Keeley Electronics have teamed up to bring you a 2-in-1 collaboration of two essential circuits with a few delicious surprises. The Steak & Eggs is a perfect pairing of overdrive and compression that you may never turn off. The ingredients of the dish are a modified JHS Pedals Morning Glory and a modified Keeley Electronics Compressor… both of which can only be found in this offering. The left side is the JHS Pedals Morning Glory circuit with a new gain setting that has never before been available in a previous version of the circuit. For years JHS Pedals has been asked for a higher gain version of the Morning Glory that keeps the character of the circuit but gives you more power. JHS released a limited run of 135 pedals in 2012 called the State Line and this pedal included a modified version of the Morning Glory. However, the high gain modification found in the Steak & Eggs circuit is totally new and re-thought from the ground up. JHS feels this is the perfecting ingredient to the already prestigious Morning Glory giving it power, punch, and dirt at the flick of a switch. The gain switch works two different ways in correspondence with the drive control. When the drive control is below 80% the toggle adds headroom and punch, when the drive control is maxed it adds more dirt, saturation and gain to the circuit for the most available drive ever in the circuits history. The standard bright cut toggle everyone is familiar with is still available via an internal dip switch. Whether you like over-easy, sunny-side up, poached, or hard-boiled, this will be a glorious morning treat. The right side of the Steak & Eggs is a new three knob version of the classic Keeley Electronics Compressor. The Compressor features a blend control which allows players to blend back in their original unaffected signal for very punchy tones and the tenderest compression available. It's great for humbuckers where over-compression can result in a dull tone; this design helps retain brightness. An all new mid and treble emphasis circuit has been incorporated in this design as well. The "Bright Switch " is also new to the Keeley Compressor. Flicking the toggle switch up allows players to fine tune the highs in their signal by pushing the perfect frequency range for that "jangly" tone! The compressor also features a fast release time allowing players to experience all the warmth and sustain of the earlier Keeley designs yet retain clarity in note definition. If the player would like a more spongy, tube-like compression, there is an internal DIP switch that gives you the classic Keeley sound, perfect for chicken- pickin’! The Sustain Control is where all the magic happens. As with all of the vintage Keeley OTA designed compressors, the Sustain control may make a swoosh sound as rotated and it will not affect performance when playing. In the center you will find a toggle to select the order of the effects. When the toggle is to the right, the Compressor is first. When the toggle is to the left, the Morning Glory is first. This gives you total control over the way the compression and overdrive affect one another. With these modified classic overdrive and compression circuits in one box, the Steak and Eggs is the perfect staple for your pantry. Marinate your ears and incubate your tone with the Steak and Eggs. The Steak & Eggs is truly a collaborative effort that couldn't have happened without the help of Jon Cusack and Cusack Music populating the PCBs in Holland, Michigan. Thanks to Cusack Music for making the process of two companies' designs come together easily and efficiently! Modifications to original circuits by Josh Scott and Robert Keeley. Final PCB layout, powder coating, printing and drilling of the enclosure by Keeley Electronics in Edmond, OK. PCBs populated by Cusack Music in Holland, MI. Final assembly, Quality Control, packaging and shipping by JHS Pedals in Kansas City, MO. We are proud to keep this product 100% made-in-USA.
De JHS : Sometime in 2013 Andy Timmons purchased an Angry Charlie from a guitar shop in Texas, and it became his main dirt channel soon after. Having a chat with him at Winter NAMM 2015 we set out to tweak it a bit to his personal tastes and needs so that it could fit even better into his live rig. The rest is history and the JHS Pedals “AT”, AKA “The @“, was born. Let’s take a look at its controls and function. The AT has four knobs and a three position toggle switch. The “Volume” control controls the overall output level of the effect. The “EQ” control is a low pass filter that very naturally allows you to darken and brighten the overall tone of the pedal. The “Drive” control adjusts the amount of gain/distortion that you desire. The “Air” control is another low pass filter, but it is focused only on the high treble frequencies. This allows for “The AT“ to perform perfectly with virtually any amplifier as you can adjust in fine detail along with the corresponding “EQ” control. The 3-Way toggle is called the “Headroom” toggle. In the down position you have what we refer to as the 50 watt mode. The middle position is 100 watt mode and the up position is the 25 watt mode. These replicate different wattages of a tube amplifier, so just like a real tube amp, the 100 watt is loudest, the 50 watt is in the middle and the 25 watt has less overall volume but more drive on tap. The middle 100 watt mode is clean, loud and full of power. With this mode and the drive knob under 50% you can achieve nice overdrive tones that set single coil pickups on fire with huge low-end and a powerful punch that the original Angry Charlie can’t achieve. The down position 50 watt mode gives you nice crunch/distortion that has a full frequency response. This mode is perfect for those looking for that classic British gain stage of the JCM800. The up position 25 watt mode reaches all the way into distortion territory and has rich harmonics, enhanced mid’s and more of a cutting presence. If you love gain, this is the mode for you. This is an extremely versatile pedal that covers a large range of gain territory. If you need a single pedal that can achieve the saturated tones of a real British tube amplifier with a 4x12 cab, the Andy Timmons signature pedal is where it’s “AT.“ Oh yea, you can safely run “The AT“ at 18 or 9 volts.
De JHS : In 1968 a piercing guitar tone came through the speakers on the Beatles “Revolution 1”. This is one of the most famous uses of plugging a guitar straight into a mixing console and creating the now referred to as “Direct-In Distortion". That tone is one of the most recognizable and unique guitar tones of the last 60 years and was one of the inspirations for the JHS Colour Box that we released in May of 2014. We sought to recreate that same compressed bite and fuzz that you get when plugging directly into a British style preamp but in a compact pedal. What we came up with was something even more than we imagined, and the Colour Box has become a staple among many producers, guitar players, and multi-instrumentalists world wide. Many players over the last few years have expressed their interest in a unit that is like the Colourbox but more streamlined for the one basic application of a dirt box. No XLR function, no 3 band EQ… Just the dirt in an easy to use format for guitarists… So we decided to pull the Crayon out of the Colour Box. The controls are Master, Pre, Tilt, and Hi Pass. “Master" is your classic volume control that controls the overall output. “Pre" works as a drive or fuzz control like turning up the pre-volume on a preamp to send it in to overdrive. As you reach 75% and above, the fuzz will begin to gate out as you pick the strings harder when playing, it is very responsive to your input signal and touch. The “Tilt" acts as an active tone control that is flat when the knob is at 50%. When turned to the left, the Tilt control boosts bass and simultaneously cuts treble. When turned to the right, it boosts treble and cuts bass. This allows for some very unique and usable adjustments to the overall feel of the Crayon. The “Hi-Pass” toggle switch lets you activate from two different frequencies located on the side of the pedal, 200Hz and 750Hz. These settings let only the high band frequencies above them pass, and this allows for some amazing tone shaping possibilities. The Crayon excels at Direct-In fuzz tones, but it truly covers more ground than you would first imagine. From subtle tube-like overdrive to classic rock distortion and all the way to spitting fuzz, the Crayon is much more than a one-trick pony. The Crayon also cleans up with your guitar's volume better than any other drive we make. It is exceptional for the player who want to access multiple dirt tones with the controls of their guitar. The Crayon may be the tone you’ve heard and always wanted, the tone that you never knew where to find. Add this Crayon to your palette of tones and color your own unique voice.
Après avoir racheté Sky Pedals, JHS Pedals a repensé et amélioré le Cloud9 pour créer l'Alpine, une reverb complète avec un réglage Reverb qui agit comme mélangeur des signaux wet/dry, High qui est comme un filtre passe-haut pour assombrir ou éclaircir la reverb, Depth qui ajuste la taille ou l'espace de la reverb et Length qui modifie le temps d'arrêt de la reverb. Le footswitch Shift à droite active le bouton Shift qui agit comme un second réglage Reverb pour pouvoir passer de l'un à l'autre en temps réel. Une entrée TRS de boucle d'effet sur le côté permet d'appliquer un effet externe au son de la reverb en utilisant un splitter cable TRS. Un sélecteur interne permet permet d'activer cette boucle d'effet tout le temps ou seulement sur le canal Shift. Son bypass avec buffer restaure les pertes de signal et permet un arrêt progressif de l'effet.