JHS Pedals

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"

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. 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.

The JHS Pedals Colour Box began with a simple idea: create a pedal that sounds like plugging directly into a vintage preamp and cranking it. No amp, no speaker, just DI goodness. Well, the Colour Box became much more as we got into designing it. Thus we decided it was time to pare it down and give guitar players and bass players a simplified version that gives you the distinct compressed overdrive and fuzz sounds you’ve heard on so many classic recordings. The Crayon is just that, a powerful little box that has all the color and characteristics of a vintage studio preamp when cranked. The Crayon has controls for Master, Pre-Vol, Tilt, and a Hi-Pass toggle. The Master volume controls the overall volume of the unit, while the Pre-Vol acts as a gain control to go from a gritty preamp drive to over-the-top gated fuzz. These controls work together to create a ton of colorful tones that are extremely useful. The Tilt control is an active EQ where when set at 12 o’clock you have a flat EQ, while turning clockwise boosts highs and cuts bass, and turning counterclockwise boosts bass and cuts highs. This gives the Crayon the ability to be tailored to any rig for bass or guitar. The Hi-Pass toggle cuts your low end with a flick of the switch for the ability to cut through the mix or get lo-fi sounds. There is a dip switch on the right side of the pedal to choose either 200Hz or 750Hz cut for the Hi-Pass. - Preamp DI tones from low gain grit to gated fuzz. - Active EQ for the perfect tones on bass or guitar. - Hi-Pass for lo-fi AM radio sounds. - Paint with all the colors of the wind. The JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need! This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.6"x4.8"x1.6".

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". "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 you are a wizard of circuitry and a deep well of design knowledge to the things that are over my head – Josh"

The JHS Hard Drive is the first attempt in our company’s fifteen-year history at a full-blown and respectable modern distortion pedal that is not based on a previous circuit or classic topology. In 2016, Josh had the idea to develop a circuit that covered the best high-gain distortion tones of the ’90s and 2000s, a sound that embodied the post-grunge alternative rock movement. We started by looking at pedals, then amps, and after exploring the typical paths of circuitry, we took a sharp turn and started from scratch. Eight years later, the pedal is finished and ready to take you to the next level. The Hard Drive goes harder and further than any gain or distortion we’ve released so far.

The JHS Pedals Flight Delay was made with one goal in mind: to be everything you need in a delay and nothing you don’t. In a world full of complex effects pedals, we worked hard to bring you the opposite - a beautifully simple stompbox that combines the most essential delay types with the features that matter. With three modes (Analog, Reverse, and Digital) inspired by my all-time favorite delays - EHX Memory Man, Boss DD-5, and Line 6 DL4 “Reverse Mode” - the Flight Delay is familiar, inspiring, and versatile enough for players in any genre. If you are tired of delay pedals that require frustrating menu diving to find the sound you want, endless scrolling on option screens, and complicated user interfaces, look no further!

In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI: the Proco RAT. Scott Burnham and Steve Kiraly first had the idea after playing, repairing and modifying all the available distortion pedals on the market. They wanted something that didn’t exist in the mainstream product lines like MXR, DOD and BOSS. They wanted a pedal that could go from overdrive to distortion and then all the way to fuzz. By 1979 Scott had perfected the circuit in his RAT-infested basement workshop, and the rest is history. The PackRat is the ultimate tribute to the 40+ years of rodent evolution and its impact on the guitar’s sound. Artists from every genre have used the iconic tones in this unassuming black box to create their sounds, including Nirvana, John Scofield, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck and Radiohead. Building on our Multi-Mode pedal series that includes the Muffuletta and Bonsai, the PackRat uses the same unique digital runway system to direct the paths of 261 components through 40 individual switches. This means that when you choose one of the nine legendary or rare modes, you are playing fully analog circuits that perfectly replicate that mode, even down to the aging components (also known as component drift). If you purchased these nine hard-to-find pedals on the used market right now, you would pay around $4,000. When you put it that way, $249 sounds pretty reasonable.

In 2007, we released our very first delay pedal, the Pink Panther. That pedal was instantly recognizable with it’s bright pink case and shiny silver knobs. Unfortunately, not every cat has nine lives, and we only produced about 100 units before the chip set was no longer available, forcing the pedal out of production. It was also quirky and unreliable, as early designs tend to be. We decided to revisit this now beloved delay and rebuild it from the ground up. We now present a simple digital delay/echo that has everything you need and nothing you don’t. This may be your lucky day! FEATURES & CONTROLS The Lucky Cat delay has basic controls consisting of Time, Mix, Ratio, Repeats, Darken (EQ), and a Modulation toggle. Time is a manual control for the length of the repeats up to 1000ms. Mix controls the volume of the repeats, from fully clean signal to fully wet. Ratio controls the subdivision of the tap tempo with options of quarter note, dotted eighth note, eighth note, and triplets. Repeats controls the amount of repeats you will hear, from one repeat to infinite. The Lucky Cat will not do analog delay oscillation, but will do a musical digital oscillation when the repeats are maxed out and you play with the Time control. The Darken control works as an EQ for the repeats only. When fully clockwise the tone of the delay is the fully digital, unaffected sound. As you turn counter-clockwise the delay will darken in tone giving you an array of delay tones at your fingertips. The Modulation toggle has two modulation settings, Mod 1 and Mod 2, with the center setting disengaging the modulation. Mod 1 is a subtle modulation that gives the delay just the right amount of movement without being overwhelming. Mod 2 is a deeper modulation that gives you a seasick sound for those parts you want drenched in modulation. CLEAN DIGITAL VS TAPE DELAY On the left side of the Lucky Cat, you’ll find a dip switch for Vintage Tape/Digital Clean tones. In Vintage Tape mode, you’ll find a more compressed slightly driven echo like vintage tape delays. In Digital Clean mode the echo is crisp and clean for those pristine and chirpy delay sounds. On the right side of the pedal, you’ll also find an external tap jack so you can control the tempo of your delay with an external tap pedal. SPECS - 1000ms of classic digital delay. - On board tap-tempo with ratio subdivision control. - Two modulation settings. - EQ control for the repeats. - Tape/Digital modes. - External tap jack. - Diamond eyes. VERSION HISTORY V1 = Formerly Pink Panther; larger enclosure; completely different controls. V2 = Pink Panther reboot; current layout. V2 ( cont’d) = Updated to Lucky Cat logo/name; Pink and Blackout versions available. THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 75mA, AND MEASURES 2.6" x 4.8" x 1.6"

In 2019 I stumbled across a pedal that didn’t exist. Yeah, cue the Twilight Zone theme song. It was a DOD Overdrive / Preamp that predated the “Gray Box” 250 pedals that everyone– myself included –had assumed were the first version ever made. The pedal was encased in a large gray folded metal enclosure that resembled Electro-Harmonix more than DOD, and it was conspicuously lacking the “250” model number. The typeset and DOD logo were different, but it still had the same charm and quirky feel of the vintage 1970s DOD. The sticker on the pedal’s backplate said “DOD Electronics Company” and listed the home address of founder David Oreste Di Francesco, as well as a number: 75. According to my interview with David himself a year later, I had found the 75th DOD pedal ever made and one of the first ten DOD Overdrive / Preamps (250) ever sold . This stompbox represented the genesis of “America’s Pedal.” For a pedal historian, it was the equivalent of uncovering the Dead Sea Scrolls. The internals featured a floating/loose hand-etched PCB and the same DOD 250 circuit, but with a few changes. The internal parts dated as early as 1972 and, according to David, were harvested from old radios and electronics he scavenged when he started building his first effects. The JHS Overdrive Preamp is a faithful replication of this unobtainable V1 of DOD’s most loved pedal. The controls are simple. The Level control adjusts the overall output of the circuit and lets you cut or boost the signal. The level control of this version has been modified (corrected) from the original wiring of the #75 unit, giving this pedal much more volume on tap. The Gain control adjusts the amount of gain inside the overdrive circuit. Turning up “Gain” creates more clipping as it pushes the op-amp and hard clipping into overdrive. We’ve also added a slider switch to this production version, which wasn’t included with the original DOD 250. While researching the #75 “Big Box” pedal, I acquired a second early big-box unit which used a completely different clipping arrangement. It only seemed fair to offer this switch so that you could explore these two variations for yourself. This “Big Box V1” DOD 250 circuit definitely feels like a 250, but with a few changes: more gain/grit overall and more unique low/mids. This is a must-have addition to any DOD collector’s lineup, or for anyone who's curious about how it all started. The standard Overdrive / Preamp will be part of our normal JHS lineup. Buy yours today and experience the history of one of the greatest overdrive/preamp circuits ever made. THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 51MA, AND MEASURES 4.7" X 3.7" X 1.66”

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!

LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22 The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The JHS Pedals 3 Series Chorus offers classic chorus and vibrato modulation sounds, with straightforward controls and enough versatility for any style of music. The Rate and Depth knobs work together to deliver anything from subtle doubling to utterly seasick waves of modulation. The Vibe toggle removes the dry signal so that you will have a simple true pitch vibrato sound without the dry signal underneath. The JHS Pedals 3 Series Chorus runs on 9V DC Negative Center power and consumes 70mA

LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22 The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The JHS Pedals 3 Series Reverb is an extremely versatile unit that allows you to create the perfect amount of space for your guitar. You can achieve any reverberation effect, all the way from small room sounds to nearly endless washes of ambiance. The EQ lets you perfectly adjust for a bright or dark texture to the reverb's overall tone. The Pre-Delay knob allows you to select a short delay before the reverb begins. This lets you explore effects ranging between slap-like singing in the shower sounds and spacey spring-like sounds. The JHS Pedals 3 Series Reverb runs on 9V DC Negative Center power and consumes 74mA.

LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22 The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The JHS Pedals 3 Series Delay lets you choose between rich and warm or clear and pristine echoes. The straightforward design is simple and easy to use while offering a huge range of options. The Delay gives you 80ms to 800ms of delay time, for everything from slapback to long ambient washes of pad-like echo. The Type toggle allows you to select between a clearer digital-voiced delay and darker analog-voiced delay. The Delay will give you classic bucket brigade runaway when you max out the Repeats knob when in the analog-voiced delay mode. The JHS Pedals 3 Series Delay runs on 9V DC Negative Center power and consumes 71mA.

LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22 The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The JHS Pedals 3 Series Compressor is a simple and powerful compressor that will give you everything from subtle tone smoothing to a super squashed sound. The Attack and Sustain knobs allow you to dial in the compression's overall feel and response to your playing, while the Volume knob enables you to set the overall volume at unity or boosted. The Bright toggle engages a brighter EQ so that your tone doesn't get lost in certain situations. The JHS Pedals 3 Series Compressor runs on 9V DC Negative Center power and consumes 8mA.

Classic fuzz

JHS Pedals is proud to present the Whitey Tighty compressor, our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down. The Whitey Tighty is as simple as it gets while never getting in the way. At only 1”x3”, you’ll save so much space on your pedal board that you’ll be able to add to your wardrobe of effects with ease. And with the ability to blend in compression and clean signal, you’ll be able to dial in the perfect sound that keeps everything in place. The Whitey Tighty is a FET compressor that has three simple controls: Volume, Compression, and Blend. The Volume control gives you the ability to set your volume at unity gain or slightly boosted to make up for any perceived loss from the compression. The Compression knob controls the amount of compression for everything from a subtle smoothing of your tone to a pleasing squash that’s perfect for country, blues, pop, and rock. Use the Blend knob to dial in the right amount of clean tone along with your compressed signal. This allows you to retain some of the natural feel of your clean tone while giving you the studio-quality compression that brings your sound to the next level. Tighten up your tone with the JHS Pedals Whitey Tighty!

This pedal kills your tone, and it does it brilliantly. The JHS Pedals Stutter Switch momentary mute pedal is a great option whether you’re looking for a kill-switch stutter effect, demand silent tuning while onstage, or need to fill any number of other purposes. And best of all, we can almost guarantee that there’s enough room on your pedalboard for this bite-sized button...almost. We’ve seen some of your boards. If you’re looking for a mute and prefer the immediate action of a momentary switch, the JHS Stutter Switch is the pedal for you. SILENCE THAT YOU CONTROL The easiest way to describe a momentary switch is that it is active when depressed and non-active when not. So step on the Silent Switch when you want silence and step off when you don’t. There are so many applications for a pedal like this. We built it. It’s up to you how you use it. - A simple mute for players who demand momentary control - Offers stuttering effects, silent tuning, and more - Small size is ideal for saving pedalboard space - 1” x 2” x 2” - Built rugged

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 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 sounds to melt faces. MOONSHINE ON THE RIGHT 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 Moonshine Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal. ANGRY CHARLIE ON THE LEFT 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 stompbox! It has Volume, Drive, and the full Bass, Mid, and 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! FEATURES 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. - More overdrive and distortion tones than you’ll know what to do with. - Fully independent Moonshine V2 and Angry Charlie V3 circuits. - Order toggle to select the order of effects when stacking. - Tons of control to dial in your perfect sound. 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!

In 2011, we released the Panther Analog Delay . Almost exactly two years later in 2013, we tried a nearly impossible feat of taking everything we love about the Panther Delay, making a few improvements, and packaging it into an enclosure half the size. Today in 2018 we're repeating the feat and making the Panther Cub V2 half the size once again! What's New on the V2? - Half the size of the Panther Cub V1 and Panther Cub V1.5 - Fully Wet Mix now available - Gain Control to set overall volume - Even smoother oscillation and run-away - Active EQ, which functions at a Tilt style EQ 100% Analog Bucket Brigade Technology The Panther Cub V2 is voiced to deliver the dark and chewy repeats that analog delay fans clamor for. The Panther Cub offers you 1,000ms (one full second) of delay time! Bring in beautiful, ambient modulation with the pedal's modulation controls. - 1,000ms of Delay (1 full second) - Four 3205 Bucket Brigade Delay chips - Onboard Modulation that stays accurate even when using Tap Tempo Extensive Onboard Control Thanks to its groundbreaking feature set, the Panther Cub Delay has been one of our most intriguing pedals to date. It's not often you find an all-analog delay with onboard tap tempo and a 4-section RATIO control with settings for quarter, dotted-eighth, eighth, and triplet divisions. In fact, our original Panther Delay was the first to do it in 2011! - Soft-touch Tap Tempo switch - 4-position RATIO control (1/4, 1/8, dotted 1/8, Triplets) - True Speed LED (indicates rate of actual delay) External Tone-shaping Power The Panther Cub's control and tweakability extend further than what you'll find onboard. An expression pedal input can be assigned to change many of the pedal's settings on the fly. And you even have the opportunity to externally control your tap tempo and tap slave the Panther Cub to your other time-based pedals. - Dry Out (via TRS splitter) for stereo field of sound - Assignable Expression (control Time, Ratio, Modulation) - Tap Input/Output allows external tap controller or tap slaving Additional Panther Cub Benefits: - Even smaller Pedalboard-friendly size - Space-saving top-mounted Input/Output jacks - True Bypass Switching - Standard 9V DC negative power 100% Designed, Populated, and Assembled in Kansas City USA

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 less than 100mA, 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

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 less than 100mA, and measures 2.2"x4.8"x1.6"

Have you ever heard a vintage Fender blackface or Vox tremolo dripping like honey from the speaker? Then you know how rich and sweet this kind of tone can be. The Honey Comb Deluxe faithfully recreates this beloved amp tremolo with a warmth and character you would only expect from a vintage amp. With two channels of tremolo and the ability to switch on the fly, you’ll be licking your fingers with the sticky goodness coming from the Honey Comb. The Honey Comb has simple controls with Volume, Depth, Speed 1 and Speed 2. The Volume control can work to compensate for any perceived volume loss when the tremolo is on, or you can use it as a boost. The Depth goes from a subtle movement to a full sine wave volume sweep that feels natural in every setting. The Honey Comb gives you two speeds so you can select between them on the fly with the second footswitch. Speed 1 has a green knob and is active when the LED above the speed select switch is green. Speed 2 has a red knob and is active when the LED is red. This is extremely helpful for switching between fast and slow speeds on the fly. We also included an internal switch to give you a faster or slower range of speeds available with the sweep of the speed knobs. - Classic Fender and Vox tremolo tones. - Volume to cut through any mix. - Two speeds selectable by the onboard footswitch. - Always-on speed LED. If you crave a satisfying tone sweetener, reach for the Honey Comb Deluxe for lip-smacking goodness. This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.6"x4.8"x1.6" VERSION HISTORY: V1 = bee logo, slightly darker yellow powder coat. V2 = current production model as seen, internal dip-switch for dual speed adjustment, some early V2's do not have dip switch

The JHS Pedals Mini Foot Fuzz is small, ruthless, and simple. It’s 1” x 3” of ferocious fuzz that can melt even the most anti-fuzz activist’s heart. The mini enclosure that restrains the Mini Foot’s explosive personality fits easily on even the most crowded pedalboards. And a stomp of the footswitch unleashes rich harmonics, massive headroom, and thick fuzz/overdrive that may cause you to wonder, “What if I had had this pedal years ago? Would I be famous...?” Yes. We’re pretty sure you would be. This is what fuzz is supposed to sound like With a sound that offers everything from muff-like rage to smooth Gilmour-esque lead tones, you’d expect the pedal to need more than its two controls for volume and fuzz. It must be magic. - Simple-to-use Volume and Fuzz controls are all you need - From nasty and spitting to smooth and massive tones In a bite-size package Not that you need us to tell you, but the Mini Foot Fuzz is...well...mini. Tiny size, gargantuan sound. It’s that simple. - Measures 3.6" x 1.5" x 1" - Saves valuable pedalboard real estate - We think it’s cute Mini Foot...Big Fuzz. This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 3.6"x1.5"x1"