{"title":"Effects Pedals","description":"","products":[{"product_id":"jhs-3-series-glitch-delay","title":"JHS 3 Series Glitch Delay","description":"\u003cp\u003e\u003cspan\u003eThe \u003cspan class=\"il\"\u003eJHS\u003c\/span\u003e 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, careful 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 \u003cspan class=\"il\"\u003eJHS\u003c\/span\u003e Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 3 Series Glitch Delay is a delay pedal built around one singular obsession: time-based glitching. Inspired by the legendary Line 6 DL-4 and the ambient, smearing delay work of Bill Frisell, this pedal locks your core delay time in place while a randomized glitch event alters the playback speed in real time. This bends, drags, and warps repeats inside the delay circuit’s feedback loop. The result is a living, breathing delay that moves with you without losing your tempo. With Glitch fully counterclockwise it's a warm, musical delay pedal. No glitch, just classic delay tones that will fit any rig. Turn it clockwise and glitch probability increases up to 50% (when the knob is full clockwise), with the LED flashing in sync with each event. The Time control spans 20ms to 980ms, from tight slapback to long ambient pads. The Repeats control adds beautiful modulation as it climbs, and an internal limiter allows endless, never-runaway feedback. New notes stack on top of older, slowly dissolving repeats. The Mix toggle sets delay level at either a subtle 35% or a more present 80%. This is an easy to use pedal where no setting sounds bad. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003cspan class=\"il\"\u003eJHS\u003c\/span\u003e Pedals 3 Series Glitch Delay runs on 9VDC center negative power and consumes 65mA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLENGTH 4.42\" X WIDTH 2.38\" X HEIGHT 1.22\"\u003c\/span\u003e\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48214996222174,"sku":null,"price":145.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-3-series-bit-crusher","title":"JHS 3 Series Bit Crusher","description":"\u003cp\u003eThe 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, careful 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.\u003cbr\u003e\nThe 3 Series Bitcrusher was built from scratch to do two things with precision: reduce bit depth and reduce sample rate, with a filter to shape the result. The Crush knob controls bit depth, moving from full 24-bit resolution counterclockwise down to 1-bit clockwise,from unprocessed through grainy and textured, into square-wave aggression and gated digital distortion. The Sample Rate knob works counterclockwise from a clean 32.768 kHz down to 2.5 Hz, introducing aliasing and artifacts that range from subtle harmonic shifts to metallic, ring-mod-like chaos and full digital collapse. The Filter knob shapes both, fully clockwise is unfiltered. Turn counterclockwise to sweep the corner frequency and increase the filtering. The Type toggle selects the filter character: down is a second-order low-pass with no resonant peak, inspired by vintage synthesizers like Oberheim, full-bodied and well-suited to bass guitar. Toggle up is a high-pass and low-pass swept in succession, focusing a band of strong mid-range frequencies that evokes the small speaker sound of a handheld game console. Under the hood, this pedal applies a zero-hole filter,a theoretical signal processing concept that had never found a practical application until it became part of this circuit.\u003cbr\u003e\nThe JHS Pedals 3 Series Bitcrusher runs on 9VDC center negative power and consumes 65mA.\u003cbr\u003e\nLENGTH 4.42\" X WIDTH 2.38\" X HEIGHT 1.22\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384260830,"sku":null,"price":145.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-3-series-ring-modulator","title":"JHS 3 Series Ring Modulator","description":"\u003cp\u003eThe 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, careful 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.\u003cbr\u003e\nThe 3 Series Ring Modulator covers it all, from subtle, invisible modulation to full metallic chaos, with two distinct modes. The Blend knob mixes the ring modulation against your dry signal. The Frequency knob controls the speed of the ring modulator's oscillator, moving from slow, pulsing movement at lower settings to bell-like, metallic tones at higher ones. The Mode toggle selects between two algorithms. Down is Earworm mode, inspired by the now discontinued Way Huge Ringworm. The Tweak knob introduces an auxiliary LFO that adds wobble and movement to the modulation, turning a fixed ring mod into something alive and animated. Up is Green Lantern mode, inspired by the Green Ringer circuit, a wave rectifier that produces a natural-sounding octave effect alongside the ring modulation. In this mode, Tweak blends the octave effect from off to 100%. Used subtly under a solo, it adds a barely-there harmonic presence. Pushed hard with gain in front of it, it becomes something considerably wilder. Ring modulation has been around since the 1970s, and this pedal is our take on giving you everything the effect has to offer in one of  the simplest possible packages. \u003cbr\u003e\nThe JHS Pedals 3 Series Ring Modulator runs on 9VDC center negative power and consumes 65mA.\u003cbr\u003e\nLENGTH 4.42\" X WIDTH 2.38\" X HEIGHT 1.22\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384293598,"sku":null,"price":145.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-424-gain-stage","title":"JHS 424 Gain Stage","description":"\u003cp\u003eJHS 424 Gain Stage - LoFi Fuzz Pedal.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe 424 Gain Stage gives all the elastic, lo-fi tone inspired by a guitar being plugged straight into a vintage 424 multi-track recorder.  With the 424 Gain Stage pedal, you can easily integrate the rubbery clean tones, high head room, and smashed out fuzz that’s being repopularized by today’s emerging guitarists.  \u003c\/p\u003e\u003cp\u003eMulti-track recorders were made famous in the ‘80s and ‘90s, and gave musicians and songwriters the ability to bring our songs to life from the comfort of our cluttered bedrooms. These devices meant for home studios eventually found their way onto hit records like Springsteen’s Nebraska, the Wu-Tang Clan’s Enter the Wu-Tang, and Spoon’s Gimme Fiction. Many of the vocal parts and fuzzy guitar tracks on Gimme Fiction – a huge inspiration for the creation of the Colour Box – were actually recorded on a vintage multi-track unit. Since hearing those recordings, the 424 Gain Stage has been brewing in the background, and now we’re proud to bring it to you.\u003c\/p\u003e\u003cp\u003eIn this historically accurate recreation,\u003cstrong\u003e we perfectly replicated the original 424 MKI circuit using the original UPC4570 and NJM4565 op-amps and all the original controls\u003c\/strong\u003e, which is crucial for recreating the unique character that makes the old units sound so great.  The 424 MK1’s gain controls–trim, channel volume, \u0026amp; master volume–all work in tandem for dialing up your desired tone and can be further refined with the Low and High EQ settings.In addition, our unit offers a ¼” output alongside a balanced XLR output (DI out) for ultimate flexibility in any situation, live or studio.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe 424 Gain Stage as a DI\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eGoing DI will give you the exact same unparalleled gooey texture and lo-fi fuzz you get when plugging directly into a 424 without the hassle of dragging around your beloved multi-track recorder. Leave it on your recording desk for easy access. If you want to get fancy, you can toss an Active A\/B\/Y switcher at the end of your rig and send the A output to your amp and the B output to the JHS 424 Gain Stage input, then XLR output of the pedal directly into your mixer or interface. This way, you can flip between your amp and the 424 Gain Stage easily or play through both at the same time. Give it a try! \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe 424 Gain Stage with an Amp\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003ePlugging a multi-track recorder into your amp is quite a feat. In this pedal format, you can easily integrate the tone of the 424 with the saturation of your favorite amp. This adds a whole new quality to the tone and gives the ability to stack it with your other pedals. Use it as a gain stage to boost your signal, a unique and colorful new overdrive sound, or push the gain knobs into full-on overloaded and broken fuzz. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVOLUME\u003c\/strong\u003e \u003cstrong\u003e(Corresponds to 424 Master) \u003c\/strong\u003e- Controls the output volume. Left is less, right is more.  On the 424 MKI, this is the MASTER fader. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eGAIN 1 (TRIM) \u003c\/strong\u003e- Sets how much preamplification will be added to the input signal.  On the 424 MKI, this is the TRIM control.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eGAIN 2 (CHANNEL) \u003c\/strong\u003e- Sets the volume level of the second gain stage. On the 424 MKI, this is the CHANNEL fader.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBASS \u003c\/strong\u003e- Cuts or boosts bass frequencies. Left is less, right is more. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTREBLE \u003c\/strong\u003e- Cuts or boosts the treble frequencies. Left is less, right is more.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINPUT\u003c\/strong\u003e - Top ¼” right jack.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOUTPUT \u003c\/strong\u003e- Top ¼” left jack.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eXLR OUTPUT\u003c\/strong\u003e - XLR jack on the left side of the pedal. This is a balanced output which can be used as a direct-out straight into a mixer or interface. The 1\/4” output and XLR output can be used simultaneously.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eGROUND LIFT\u003c\/strong\u003e - Dip switch on the left side of the pedal. If you experience a hum\/buzz while using the XLR output, use this switch to lift the ground.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePOWER\u003c\/strong\u003e - Requires 9VDC center negative power and consumes 50mA. \u003c\/p\u003e\u003cp\u003eThe 424 Gain Stage is silent, soft touch switching with a buffered bypass.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384326366,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-hard-drive-tan","title":"JHS Hard Drive - Tan","description":"\u003cp\u003eThe 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.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384359134,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-hard-drive-black","title":"JHS Hard Drive - Black","description":"\u003cp\u003eThe 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.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384391902,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-kilt-10","title":"JHS Kilt 10","description":"\u003cp\u003eAfter ten years, the Kilt gets a refreshed voice and reimagined aesthetic. An updated clipping section delivers more headroom, smoother attack, and a richer, more dynamically useful drive range than ever before.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWHAT'S NEW FOR 2025\u003c\/p\u003e\u003cp\u003eAn Updated Look – The finish returns to polished aluminum as a tribute to the original Kilt V1, now paired with classic Expandora-style knobs. It’s wrapped up with a refreshed Kilt icon that cleverly nods to both the Scottish flag and the Roman numeral “X” to represent ten years.   \u003cbr\u003e \u003c\/p\u003e\u003cp\u003eImproved Gain Control: The gain knob now offers a far more usable range from 0-25%, unlocking articulate, low-gain textures that weren't previously accessible. No more dead zones — just smooth, musical breakup from whisper-quiet to full saturation.\u003c\/p\u003e\u003cp\u003eEnhanced High-End Clarity: We've refined the top end to help the pedal cut through a mix with greater definition, which is especially noticeable in live band settings where every bit of clarity counts.\u003c\/p\u003e\u003cp\u003eIncreased Volume Headroom: More output on tap translates into a more responsive tone across your entire rig, adding dimension and feel whether you're hitting a clean amp or stacking with other drives.\u003c\/p\u003e\u003cp\u003eRefined Toggle Switches: The gain toggles have been tweaked for more usable gain parameters while keeping the pedals original feel and settings. The Low-Cut toggle is now far more amp-friendly, working well across a wider range of amplifiers (including amp modeler pedals and software).\u003c\/p\u003e\u003cp\u003eDiode Choice Enhancement: A new clipping circuit adds more touch-sensitive feel and nuance without departing from the pedal's core identity. It has slightly more compression, distortion on tap, and a smoother attack. Think Kilt V2 but bigger. From the first chord you play, you will love how it feels. \u003cbr\u003e \u003c\/p\u003e\u003cp\u003eHOW TO USE IT\u003c\/p\u003e\u003cp\u003eThe beauty of the Kilt 10  is that it functions exactly like the Kilt V2. With G1 down and G2 up, it acts like a higher gain stage boost—perfect for pushing your amp's front end or stacking with fuzz. Flip both toggles up and you get that massive wall of saturated British overdrive that made the original famous. The improved gain sweep means you can dial in everything from edge-of-breakup rhythm tones to singing lead saturation to all out gated spitting fuzz.\u003c\/p\u003e\u003cp\u003eThe enhanced headroom and clarity make this version particularly suited for complex chord work and intricate picking patterns that would get lost in lesser overdrives.\u003c\/p\u003e\u003cp\u003eAnd don't forget—the Kilt comes equipped with proprietary JHS Red Remote circuitry that allows you to switch the gain toggle on-the-fly for instant changes between overdrive and distortion, or distortion and fuzz!\u003c\/p\u003e\u003cp\u003eCONTROLS\u003c\/p\u003e\u003cp\u003eVOLUME - Controls the output volume. Left is less, right is more.. More headroom means you no longer have to turn your volume up past noon and you have more ability to use as a boost. \u003c\/p\u003e\u003cp\u003eGAIN - Controls the amount of drive or distortion. Left is less, right is more. Never before has the first 25% of the gain range been so usable. You will find transparent overdrive textures that were never before possible as well as the familiar and much loved gating fuzz abilities that the last 25% of the range offers. \u003c\/p\u003e\u003cp\u003eTONE - Controls the amount of brightness. Left is darker, right is brighter. High-frequency control with enhanced clarity and improved amp compatibility. \u003c\/p\u003e\u003cp\u003eG1 \/ G2 TOGGLEs - These toggles work together to give you up to 4 different resistance clipping options. Both toggles down is the lowest gain setting. G1 up gives you more overdrive. G2 up gives you more fuzz. Both toggles up gives you the heaviest gated fuzz the Kilt offers! The G2 toggle can also be engaged by a Red Remote.\u003c\/p\u003e\u003cp\u003eLOW-CUT TOGGLE - The down position is flat EQ, while the up position is the “cut” mode with less bass. In “cut” mode lows are reduced  for an overall tone that cuts through the mix like never before. \u003c\/p\u003e\u003cp\u003eJACKS\u003c\/p\u003e\u003cp\u003eINPUT - Lower jack on the right side of the pedal.\u003c\/p\u003e\u003cp\u003eOUTPUT - Jack on the left side of the pedal.\u003c\/p\u003e\u003cp\u003eRED REMOTE - Upper jack on the right side of the pedal with a red washer.\u003c\/p\u003e\u003cp\u003eThe Kilt 10 isn't about reinventing the wheel — it's about perfecting it. We've taken a decade of player feedback, countless hours of refinement, and distilled it into what we believe is the most complete version of this classic circuit we've ever made.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384424670,"sku":null,"price":355.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-the-violet-distortion-black","title":"JHS The Violet Distortion - Black","description":"\u003cp\u003eThe Violet Distortion is a new take on distortion\/overdrive brought to you from the collaborative minds of Josh Scott and highly influential Brazilian guitarist Lari Basilio! Using this pedal is like adding a new and ultra-flexible distortion channel to your favorite clean amplifier.\u003c\/p\u003e\u003cp\u003eThe unique three-band EQ sets the Violet apart from our other popular distortion pedals. We placed the Midrange control before the distortion circuit as a powerful pre-amp distortion shaping tool.\u003c\/p\u003e\u003cp\u003eThis single design choice allows the Violet to achieve hundreds of tones, from overdrive to full-on modern distortion. Treble and Bass controls are located in a more traditional position after the distortion circuit, offering familiar but extremely flexible post-distortion shaping you’re accustomed to.\u003c\/p\u003e\u003cp\u003eThe Violet also excels at stacking with other overdrives, distortions, and fuzzes, allowing it to fit perfectly into any rig as a second or new primary dirt device.\u003c\/p\u003e\u003cp\u003eThis pedal is for anyone looking to give their guitar a new voice. As Lari put it, “Why would I need words when my guitar can speak for me?”\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVolume - Controls the overall volume of the unit. Left is less, right is more.\u003c\/p\u003e\u003cp\u003eMid Sweep - Controls which mid frequencies are boosted or scooped by the Mid control.\u003c\/p\u003e\u003cp\u003eDrive - Controls the amount of drive. Left is less, right is more.\u003c\/p\u003e\u003cp\u003eLow - Controls level of bass frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\u003cp\u003eMid - Controls level of mid frequencies. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Sweep control.\u003c\/p\u003e\u003cp\u003eHigh - Controls level of treble frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJACKS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eINPUT - ¼” jack on the top right side of the pedal.\u003c\/p\u003e\u003cp\u003eOUTPUT - ¼” jack on the top left side of the pedal.\u003c\/p\u003e\u003cp\u003ePOWER - Uses 9V DC Negative Center. Do not use more than 9V DC. Damage may occur and your warranty will be voided. Silent, soft touch switching with a buffered bypass.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDALS MEASURES 4.7” X 3.5” X 1.5” AND CONSUMES 55mA.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384490206,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-the-violet-distortion-purple","title":"JHS The Violet Distortion - Purple","description":"\u003cp\u003eThe Violet Distortion is a new take on distortion\/overdrive brought to you from the collaborative minds of Josh Scott and highly influential Brazilian guitarist Lari Basilio! Using this pedal is like adding a new and ultra-flexible distortion channel to your favorite clean amplifier.\u003c\/p\u003e\u003cp\u003eThe unique three-band EQ sets the Violet apart from our other popular distortion pedals. We placed the Midrange control before the distortion circuit as a powerful pre-amp distortion shaping tool.\u003c\/p\u003e\u003cp\u003eThis single design choice allows the Violet to achieve hundreds of tones, from overdrive to full-on modern distortion. Treble and Bass controls are located in a more traditional position after the distortion circuit, offering familiar but extremely flexible post-distortion shaping you’re accustomed to.\u003c\/p\u003e\u003cp\u003eThe Violet also excels at stacking with other overdrives, distortions, and fuzzes, allowing it to fit perfectly into any rig as a second or new primary dirt device.\u003c\/p\u003e\u003cp\u003eThis pedal is for anyone looking to give their guitar a new voice. As Lari put it, “Why would I need words when my guitar can speak for me?”\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eVolume - Controls the overall volume of the unit. Left is less, right is more.\u003c\/p\u003e\u003cp\u003eMid Sweep - Controls which mid frequencies are boosted or scooped by the Mid control.\u003c\/p\u003e\u003cp\u003eDrive - Controls the amount of drive. Left is less, right is more.\u003c\/p\u003e\u003cp\u003eLow - Controls level of bass frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\u003cp\u003eMid - Controls level of mid frequencies. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Sweep control.\u003c\/p\u003e\u003cp\u003eHigh - Controls level of treble frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJACKS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eINPUT - ¼” jack on the top right side of the pedal.\u003c\/p\u003e\u003cp\u003eOUTPUT - ¼” jack on the top left side of the pedal.\u003c\/p\u003e\u003cp\u003ePOWER - Uses 9V DC Negative Center. Do not use more than 9V DC. Damage may occur and your warranty will be voided. Silent, soft touch switching with a buffered bypass.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDALS MEASURES 4.7” X 3.5” X 1.5” AND CONSUMES 55mA.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384522974,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-colour-box-v2-10-year-anniversary","title":"JHS Colour Box V2 10 Year Anniversary","description":"\u003cp\u003eThe Colour Box is ten years old, and to celebrate, we're offering a special colorway in a pro-audio aesthetic! Get them while they're hot, because we're only planning on selling these from now until December 31, 2024.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIn 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard-to-achieve sounds of \"direct-in\" electric guitar recordings that I loved.  Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.\u003c\/p\u003e\u003cp\u003eI wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.\u003c\/p\u003e\u003cp\u003eIn 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!\u003c\/p\u003e\u003cp\u003eOn its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo buses, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION 2 EMERGES\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi\/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics. \u003c\/p\u003e\u003cp\u003eThe most significant improvements are:\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003eAddition of an Output transformer\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eSafely Passes 48V Phantom Power\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eEQ Shift Knobs for precision EQ control\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eHi\/Lo Switch for ultra clean headroom\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e100% available clean signal even on acoustic guitar\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eSilent switching, aka no \"switch-pop\"\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eRuns on standard 9V DC Neg power\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eFEATURES \u0026amp; CONTROLS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a \"drive\" or \"gain\" control, adding more grit, distortion, and even fuzz as you increase the gain.\u003c\/p\u003e\u003cp\u003eThe Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has a new Hi \/ Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.\u003c\/p\u003e\u003cp\u003eIn addition to the Hi \/ Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOST POWERFUL EQ YET\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The classically labeled EQ knobs adjust the amount of frequencies that get boosted and cut, while the Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control.\u003c\/p\u003e\u003cp\u003eEQ Functions\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eTreble Knob\u003c\/strong\u003e - Cut\/Boost Control     +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eMiddle Knob \u003c\/strong\u003e- Cut\/Boost Control    +\/- 10dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eBass Knob\u003c\/strong\u003e -   Cut\/Boost Control   +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eFrequencies controlled by EQ Shift Knobs:\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eTreble Shift \u003c\/strong\u003e- 2kHz to 30kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eMiddle Shift \u003c\/strong\u003e- 150Hz to 2.4kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eBass Shift \u003c\/strong\u003e- 20Hz to 440Hz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eThe \u003cstrong\u003eHi-Pass\u003c\/strong\u003e section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob. The HPF is a 2nd order 6dB per octave highpass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eXLR AND OUTPUT\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has a combination XLR and 1\/4\" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST\/XLR.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total.\u003c\/p\u003e\u003cp\u003eV2 = Larger enclosure; ten knobs total; added Hi\/Lo Toggle; passes phantom power. Output transformer addition.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384555742,"sku":null,"price":645.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-flight-delay-blue","title":"JHS Flight Delay - Blue","description":"\u003cp\u003eThe JHS 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, JHS 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 (Delay, Reverse, and Analog) 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! \u003cbr\u003e\u003cbr\u003eCONTROLS\u003cbr\u003eMIX - Controls the mix of delay with your dry signal. All the way left is fully dry, all the way right is fully wet. Noon is a 50\/50 blend.\u003cbr\u003e\u003cbr\u003eREPEATS - Controls the amount of feedback or repeats in the delay signal. Left is less, right is more. Fully right will give infinite repeats. Be careful! This feature can quite literally spiral out of control.\u003cbr\u003e\u003cbr\u003eEQ - Adjusts the tone or color of the repeats. Left is a darker, warmer delay tone. Right is brighter and crisper.\u003cbr\u003e\u003cbr\u003eTIME - Controls the length of the delay from 50ms to 1 second. Left is shorter, right is longer.\u003cbr\u003e\u003cbr\u003eMODULATION\u003cbr\u003eThe fight delay features a meticulously designed modulation path that affects the delayed signal. This can be used to perfectly emulate the modulation textures of a Memory Man's vibrato'd repeats or a vintage tape delay's lo-fi warble warble and everything in between. \u003cbr\u003e\u003cbr\u003eMOD DEPTH - Controls the depth or level of the modulation effect. Left is less, right is more.\u003cbr\u003e\u003cbr\u003eMOD RATE - Controls the rate of the modulation. Left is slower, right is faster.\u003cbr\u003e\u003cbr\u003eMODE TOGGLE\u003cbr\u003eANALOG - A filtered analog-style BBD delay that harkens back to classic echo pedals like the \u003cbr\u003e\u003cbr\u003eEHX Memory Man and BOSS DM-2.\u003cbr\u003e\u003cbr\u003eREVERSE - Plays the delay signal backwards, inspired by effects like the Danelectro Back Talk and Line 6 DL4 Reverse mode. \u003cbr\u003e\u003cbr\u003eDIGITAL - Crisp, digital-style delay that pays tribute to early DSP delays like the BOSS DD-5 and the Ibanez DE7.\u003cbr\u003e\u003cbr\u003eNote: When switching between modes, the delay time will default to the Time control setting.\u003cbr\u003e\u003cbr\u003eSUBDIVISION TOGGLE - Sets the interval of delay repeats - quarter note, eighth note, or dotted eighth note in relation to your tapped tempo.\u003cbr\u003e\u003cbr\u003eMODULATION TOGGLE - Sets delay modulation style to chorus, vibrato, or off.\u003cbr\u003e\u003cbr\u003eTRAILS BYPASS MODE- Allows the repeats to trail when the pedal is bypassed. To activate or deactivate, hold both footswitches for two seconds while the pedal is on. The left bypass LED will blink, and the setting will be retained.\u003cbr\u003e\u003cbr\u003eTAP\/EXPRESSION CONTROL FOR DELAY TIME\u003cbr\u003eTAP - For external tap control, plug a mono TS cable into the TAP\/EXP jack and connect to a switch or clocking device.\u003cbr\u003eEXPRESSION - For control of the delay time with an expression pedal, plug a stereo TRS cable into the TAP\/EXP jack and connect to an expression pedal with the polarity set to \"Tip\". Heel down produces the fastest delay time, and toe down produces the slowest delay time.\u003cbr\u003e\u003cbr\u003eLEFT FOOTSWITCH - Bypass switch, which turns the effect on and off.\u003cbr\u003e\u003cbr\u003eRIGHT FOOTSWITCH - Tap tempo switch. Tap in your tempo with two or more presses to lock in your delay time. (This will reset to the Time control setting when changing modes.)\u003cbr\u003e\u003cbr\u003ePOWER\u003cbr\u003eINPUT - 1\/4\" jack on the top right side of the pedal.\u003cbr\u003eOUTPUT - 1\/4\" jack on the top left side of the pedal.\u003cbr\u003eTAP\/EXP JACK - 1\/4\" jack on the top between the input and DC jack. \u003cbr\u003ePOWER - Requires 9VDC negative center power and consumes 85mA. \u003cbr\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384588510,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-flight-delay-white","title":"JHS Flight Delay - White","description":"\u003cp\u003eThe JHS 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, JHS 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 (Delay, Reverse, and Analog) 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! \u003cbr\u003e\u003cbr\u003eCONTROLS\u003cbr\u003eMIX - Controls the mix of delay with your dry signal. All the way left is fully dry, all the way right is fully wet. Noon is a 50\/50 blend.\u003cbr\u003e\u003cbr\u003eREPEATS - Controls the amount of feedback or repeats in the delay signal. Left is less, right is more. Fully right will give infinite repeats. Be careful! This feature can quite literally spiral out of control.\u003cbr\u003e\u003cbr\u003eEQ - Adjusts the tone or color of the repeats. Left is a darker, warmer delay tone. Right is brighter and crisper.\u003cbr\u003e\u003cbr\u003eTIME - Controls the length of the delay from 50ms to 1 second. Left is shorter, right is longer.\u003cbr\u003e\u003cbr\u003eMODULATION\u003cbr\u003eThe fight delay features a meticulously designed modulation path that affects the delayed signal. This can be used to perfectly emulate the modulation textures of a Memory Man's vibrato'd repeats or a vintage tape delay's lo-fi warble warble and everything in between. \u003cbr\u003e\u003cbr\u003eMOD DEPTH - Controls the depth or level of the modulation effect. Left is less, right is more.\u003cbr\u003e\u003cbr\u003eMOD RATE - Controls the rate of the modulation. Left is slower, right is faster.\u003cbr\u003e\u003cbr\u003eMODE TOGGLE\u003cbr\u003eANALOG - A filtered analog-style BBD delay that harkens back to classic echo pedals like the \u003cbr\u003e\u003cbr\u003eEHX Memory Man and BOSS DM-2.\u003cbr\u003e\u003cbr\u003eREVERSE - Plays the delay signal backwards, inspired by effects like the Danelectro Back Talk and Line 6 DL4 Reverse mode. \u003cbr\u003e\u003cbr\u003eDIGITAL - Crisp, digital-style delay that pays tribute to early DSP delays like the BOSS DD-5 and the Ibanez DE7.\u003cbr\u003e\u003cbr\u003eNote: When switching between modes, the delay time will default to the Time control setting.\u003cbr\u003e\u003cbr\u003eSUBDIVISION TOGGLE - Sets the interval of delay repeats - quarter note, eighth note, or dotted eighth note in relation to your tapped tempo.\u003cbr\u003e\u003cbr\u003eMODULATION TOGGLE - Sets delay modulation style to chorus, vibrato, or off.\u003cbr\u003e\u003cbr\u003eTRAILS BYPASS MODE- Allows the repeats to trail when the pedal is bypassed. To activate or deactivate, hold both footswitches for two seconds while the pedal is on. The left bypass LED will blink, and the setting will be retained.\u003cbr\u003e\u003cbr\u003eTAP\/EXPRESSION CONTROL FOR DELAY TIME\u003cbr\u003eTAP - For external tap control, plug a mono TS cable into the TAP\/EXP jack and connect to a switch or clocking device.\u003cbr\u003eEXPRESSION - For control of the delay time with an expression pedal, plug a stereo TRS cable into the TAP\/EXP jack and connect to an expression pedal with the polarity set to \"Tip\". Heel down produces the fastest delay time, and toe down produces the slowest delay time.\u003cbr\u003e\u003cbr\u003eLEFT FOOTSWITCH - Bypass switch, which turns the effect on and off.\u003cbr\u003e\u003cbr\u003eRIGHT FOOTSWITCH - Tap tempo switch. Tap in your tempo with two or more presses to lock in your delay time. (This will reset to the Time control setting when changing modes.)\u003cbr\u003e\u003cbr\u003ePOWER\u003cbr\u003eINPUT - 1\/4\" jack on the top right side of the pedal.\u003cbr\u003eOUTPUT - 1\/4\" jack on the top left side of the pedal.\u003cbr\u003eTAP\/EXP JACK - 1\/4\" jack on the top between the input and DC jack. \u003cbr\u003ePOWER - Requires 9VDC negative center power and consumes 85mA. \u003cbr\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384621278,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-double-dragon-lo-fi-octave-device","title":"JHS Double Dragon Lo-Fi Octave Device","description":"\u003cp\u003eTHE DOUBLE DRAGON \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eLo-Fi Octave Device\u003c\/p\u003e\u003cp\u003eThe riff machine. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eIn a world of perfect digital octaves, we looked backward. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Double Dragon Lo-Fi Octave Device is built on shoulders of 40-50 year old analog octave divider technology — the same technology that gave us the MXR Blue Box, DOD Octoplus, the Boss OC-2, Ibanez OT10, Electro Harmonix Micro-Synth, and other circuits that synth designers helped inspire. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePre-DSP. Pre-precision. All analog warmth. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003ePlay single notes and you have a riff machine. Play a chord and the circuit starts to stutter, jump, and fight itself, making something new. It's not trying to replicate you perfectly — it's trying to play along with you. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIt's alive!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE SOUND \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Double Dragon is an all-analog monophonic octave-down and up effect. The lower octave is the foundation — thick, analog, with the characteristic behavior that made vintage octave circuits legendary. The upper octave is pure bonus: an octave-up distortion that lands somewhere between an Octavia and a Superfuzz. Gritty. Usable. With a mid-range sting that cuts through the mix. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTurn on the Double Dragon and you can't help but start playing riffs. Your guitar feels twice the size. You fill out the space that used to need a band. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eA MILESTONE\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIn our entire JHS Pedals history, this is our first octave device. We've done octave fuzz but we never landed on a sub octave circuit that felt at home in our brand — until now. Weird, wild, and lo-fi. We're glad we waited to get it right. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eWHO’S IT FOR?\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eFor riff lovers. For anyone who's ever listened to Led Zeppelin and wanted that synchronized guitar-and-bass weight under their fingers. For fans of The White Stripes, Hendrix, and Rage Against The Machine, Muse, Royal Blood. Also — For bass players who know what a vintage OC-2 can do to your basslines. For creative players who want something more than digital precision and clinical accuracy. For people who want a collaborator, not just a tool.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONTROLS\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eVOLUME controls the master output level with extra boost available. Turn the octaves off, dry full on, and you have an amazing always-on preamp. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eDRY mixes in your clean signal to the octave effects — all the way up is where we suggest you start, all the way down goes fully wet for glitchy vintage synth textures. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eOCT− controls the lower sub-octave mix. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eOCT+ controls the upper octave and distortion (activated by right footswitch).\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eLeft footswitch is ON\/OFF. Right footswitch engages OCT+ circuit. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe main effect must be on for OCT+ to function — it's the way it's designed — not a limitation. For octave-up only, engage and turn OCT− down. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003ePAIRS WELL WITH \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eOverdrive after (especially Tube Screamer - mid heavy types). Fuzz after for chaos. Pitch vibrato for a more synth-like texture. The Double Dragon's tracking quirks become even more alive and useful when layered with other effects. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eSPEC­I­FI­CA­TIONS\u003c\/p\u003e\u003cp\u003e- Top-mount­ed jacks \u003c\/p\u003e\u003cp\u003e- 9VDC Cen­ter Neg­a­tive\u003c\/p\u003e\u003cp\u003e- Silent Buffered Bypass Switching\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL MEASURES 2.6” X 4.8” X 1.6” AND CONSUMES 75mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384654046,"sku":null,"price":245.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-morning-glory-clean","title":"JHS Morning Glory Clean","description":"\u003cp\u003eWhen Trans­par­ent Overdrive Isn't Good Enough \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWe took our most legendary overdrive to a new level and redefined what it means to be transparent. Clearer pick attack, improved low end, and more versatile gain stacking. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThis is the ultimate first-stage overdrive pedal. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIt start­ed at sound­check. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eI watched Ju­lian Lage dial in his tone at a sound­check in Chica­go. Vin­ta­ge Fen­der amp. Collings semi-hol­low gui­tar. He ad­just­ed pickup heights, moved po­si­tions on stage, chas­ing the per­fect bal­ance. It was cap­ti­vat­ing. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eJu­lian has used a Morn­ing Glo­ry for years — he's a big rea­son it end­ed up on jazz ped­al­boards world­wide. Af­ter the sound­check, we dis­cussed what he looked for in an over­drive. One thing led to an­oth­er. My brain start­ed wan­der­ing off into dif­fer­ent ideas. Could we make the Morning Glory even better? \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe prob­lem with trans­par­ent. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWhen you add over­drive — any type of clip­ping — you lose nu­ance. Pick at­tack gets com­pressed. Dy­na­mics nar­row. All overdrives shape frequency response, even the most transparent.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSo we tried some­thing no one's done: we took our Morn­ing Glo­ry (a Blues­breaker-style topol­o­gy) and com­plete­ly re­built it around a stu­dio-grade par­al­lel clean blend. Not just a mod­i­fi­ca­tion, a re­design from the ground up.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eOn pa­per, it seemed point­less — why blend a clean sig­nal into some­thing al­ready trans­par­ent? \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eHere's why. The Morn­ing Glo­ry's magic happens when you turn up the Drive, the circuit boosts higher harmonics and adds soft com­pres­sion. Jan­g­ly. Per­fect in a mix. The par­al­lel clean cir­cuit lets you keep all that while di­al­ing the nat­ur­al low end back in — all the tone, all the char­ac­ter. Noth­ing com­pro­mised.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eThis isn't a clean knob slapped on a Morn­ing Glo­ry.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eFor those won­der­ing — let's talk about what's ac­tu­al­ly hap­pen­ing in­side.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Clean con­trol uses a dual-gang po­ten­tiome­ter. As you turn it, clean gain scales pro­por­tion­al­ly with the drive sig­nal — it’s per­fect­ly en­gi­neered from the ground up. Most clean blends are an af­terthought — a sim­ple mix knob tacked onto an ex­isting cir­cuit. This one was de­signed so the two sig­nals track to­geth­er across all gain settings. No vol­ume jumps. No weird phase is­sues. Just seam­less blend­ing from Morn­ing Glo­ry to pure sig­nal and every­thing in-be­tween. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe pow­er sec­tion runs on a ±9V dual sup­ply — the same topol­o­gy as our V4 — which gives you high­er head­room than the orig­i­nal V1 cir­cuit and any oth­er Bluesbreak­er-style ped­al out there. This is where most clones get it wrong. Think of it as the orig­i­nal Ver­sion 1 Morn­ing Glo­ry voic­ing with the V4 en­gi­neer­ing en­hance­ments. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Tone con­trol af­fects only the over­drive path. Your clean sig­nal stays par­al­lel and un­touched. For the peo­ple who care about this stuff: this is the most thought-out and so­phis­ticat­ed Morn­ing Glo­ry we've ever built. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eEnd­less head­room. Any vol­ume. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eEnd­less head­room. Those mas­sive clean gui­tar sounds that you love on record­ings — most were made at vol­umes that would get you evict­ed. The Morn­ing Glo­ry Clean gives you the stiff­ness and au­thor­i­ty of a high-wattage amp at the edge of breakup — with­out the earplugs. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThink of the Clean con­trol as adding back in wattage, clar­i­ty, and punch.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eIt goes on every­thing. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eStack a dis­tor­tion in front and the sus­tain opens up in­stead of clos­ing off. Run it af­ter de­lay for new territories of series\/parallel textures. First-stage over­drive? This is the best we've ever built. Pe­riod.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIt breathes in front of amp mod­el­ers too. The over­drive and pres­ence of the classic Morn­ing Glo­ry, with your at­tack and low-end con­tent di­aled back in — magic in front of a Kem­per, Quad Cor­tex, UAD, or He­lix. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eBass play­ers: the orig­i­nal Morn­ing Glo­ry rolls off low end just like a fi­nal mix. That's why you love it — that's why it's be­come a stan­dard on so many pro bassists' boards. The clean blend di­als that low end back on com­mand for your dif­fer­ent bass and ampli­fi­er needs. This might be the best bass over­drive we've ever made. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eWho this isn't for.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThis ped­al isn't for every­one and we're con­fi­dent in say­ing that. If you want the dopamine hit of a wild new sound, look else­where. If you want tons of con­trols, tweaka­bil­i­ty, bells and whis­tles — this is not that. This ped­al does less while giv­ing you more. No bad sounds. Im­me­dia­te gra­ti­fi­ca­tion. Leave it on and for­get it's there. \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003eCON­TROLS \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eVol­ume — Adjusts the overall volume in conjunction with the drive and clean.   \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eClean — Full left: orig­i­nal Morn­ing Glo­ry. Full right: pure clean sig­nal. Start with Clean and Drive maxed, dial Clean back (counter clockwise) un­til you find your perfect bal­ance. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eDrive — Sat­u­ra­tion. Crank it and use the Clean con­trol as your bal­ance. This ped­al is de­signed to be used this way. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTone — Clas­sic Morn­ing Glo­ry tone stack. Af­fects only the drive path. Back for warmth, for­ward for clar­i­ty. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eClean Boost Pro Tip – Morning Glory Clean can be used as a stand-alone clean boost.  Set the Clean to 100% (fully clockwise) and  increase the Drive.  In this configuration, the Drive will not produce any overdrive clipping - only clean volume boosting. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSPEC­I­FI­CA­TIONS\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- ±9V Dual Sup­ply (mas­sive head­room) \u003c\/p\u003e\u003cp\u003e- Top-mount­ed jacks \u003c\/p\u003e\u003cp\u003e- 9V DC Cen­ter Neg­a­tive\u003c\/p\u003e\u003cp\u003e- Silent Buffered Bypass Switching\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL MEASURES 2.6” X 4.8” X 1.6” AND CONSUMES 60mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384686814,"sku":null,"price":245.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-morning-glory-v4","title":"JHS Morning Glory V4","description":"\u003cp\u003eThe Morning Glory is undoubtedly our most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. We worked hard to make it one of the most transparent overdrives out there. When you want to add some mid- to low-level grit to your crystal-clean tone, use the Morning Glory. When you want to boost a crunchy tone into thicker sustain, use the Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use the Morning Glory. When you need to switch between two gain levels on the fly...Yeah, you get the idea.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTRULY TRANSPARENT TONE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe best way to explain the Morning Glory is that it delivers all the tonal and responsive nuance that your amp is missing, and nothing that your tone already has. It’s difficult describing a pedal that can be set to have little effect on your tone, so just plug into our Morning Glory overdrive for yourself, and then you’ll understand.\u003c\/p\u003e\u003cp\u003e- Gain control sweeps from completely clean to rock‘n’roll\u003c\/p\u003e\u003cp\u003e- Tame high end on brighter rigs with the side-mounted bright-cut switch\u003c\/p\u003e\u003cp\u003e- Increased headroom and output for use as a full-frequency boost\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eON-THE-FLY VERSATILITY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAn update for the Morning Glory V4 is moving the original's front-mounted bright-cut switch to the side of the pedal and replacing it with a powerful boost circuit. And by pairing your Morning Glory V4 with the JHS Red Remote (sold separately), you’re able to access the boost mid-song. It’s like having two Morning Glorys in one pedalboard-friendly package.\u003c\/p\u003e\u003cp\u003e- Switch to a more powerful sound with enhanced low end and grit\u003c\/p\u003e\u003cp\u003e- Plug in your JHS Red Remote to switch between the two voices with a tap of your toe\u003c\/p\u003e\u003cp\u003e- Handy LED changes from blue to red, indicating the status of the boost circuit\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Bigger white enclosure with black knobs; no bright-cut switch; no logo.\u003c\/p\u003e\u003cp\u003eV2 = Changed to smaller current enclosure; gold powder coat color.\u003c\/p\u003e\u003cp\u003eV3 = Bright-cut toggle added.\u003c\/p\u003e\u003cp\u003eV4 = Two times more headroom; Gain Toggle added; Red Remote system added.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384719582,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-coyote","title":"JHS Coyote","description":"\u003cp\u003eTHE FUZZ YOU DON'T HAVE\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eA new breed of octave fuzz based on a lost circuit that belongs to no known lineage. Three effects all contained across one knob. A tribute to an unknown pioneer who deserved to be famous.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003eAn octave fuzz topology that has never been replicated for production — until now\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eOne knob sweeps through three distinct effects: swell, fuzz, and octave\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eExceptional touch sensitivity and volume-knob cleanup — rare for any fuzz, unheard of in an octave fuzz\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eEvery octave fuzz you've ever played traces back to just a handful of circuits: the Octavia, the Super Fuzz, and the Tone Machine. The Coyote doesn't originate from any of these classic topologies. The Coyote is a complete replication of the obscure and very difficult to find Moonrock Fuzz by G.S. Wyllie, a reclusive North Carolina builder who sandcast his own enclosures, etched his own boards, and designed a unique fuzz utilizing a transformer in an unconventional way that sounds like nothing else — the product of wild experimentation combined with solid electrical engineering fundamentals. Here's what makes it strange: the circuit has a transformer, but it's not doing what transformers do in other octave fuzzes. It's not creating the octave at all. Glenn put it somewhere else entirely, where it acts more like an inductive element, shaping how the fuzz stage responds and contributing to the swell, fuzz, and octave character of the control. We've never seen anyone do this. The result is a texture and feel that doesn't exist anywhere else. He never mass-produced them. He passed away in 2014, still building. This is our tribute to Glenn and the wily circuit he left behind.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eONE KNOB. THREE WORLDS.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Swell \/ Fuzz \/ Octave control is the heart of this pedal. It sweeps continuously through three distinct zones — each one a different effect.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSwell — At its lowest setting, notes bloom in with a gated, reversed-tape quality. A slow, breathing attack that rises up from silence. The final stage of the circuit is allowed to turn on gradually, easing the signal in and creating a natural bloom that responds to your picking dynamics. We've only ever seen one other pedal attempt this — a thousand-dollar vintage piece with a dedicated footswitch for it. Glenn built it into a portion of the controls sweep.\u003c\/p\u003e\u003cp\u003eFuzz — At noon, a fully realized fuzz tone. Not a Fuzz Face. Not a Big Muff. The texture sits in Tone Bender territory — rich low end, aggressive mids, the kind of fuzz that handles chords. Shoegaze. Psychedelic rock. Full and powerful. \u003c\/p\u003e\u003cp\u003eOctave — Fully clockwise, the circuit shifts into aggressive octave-up territory. Intentionally uneven clipping emphasizes even-order harmonics, especially the second harmonic, pushing it above the fundamental to produce that snarling octave-up sound. This is pure Hendrix territory — and Glenn, who met Jimi several times in Greenwich Village, was always pointing here. He landed on it perfectly, his own way.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe transitions between zones are continuous. Explore everything in between.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWHAT SURPRISED US\u003c\/p\u003e\u003cp\u003eRoll back your guitar's volume knob and this pedal transforms. At lower settings on the Swell \/ Fuzz \/ Octave control, the Coyote becomes remarkably touch-sensitive — light picking gives you warm, controlled fuzz while digging in triggers the swell. It cleans up better than any octave fuzz we've ever played. That kind of dynamic response is almost unheard of in this category.\u003c\/p\u003e\u003cp\u003eHOW TO USE IT\u003c\/p\u003e\u003cp\u003ePut it first in your chain. Play it into another overdrive or an overdriven amp — that's how almost every iconic octave fuzz tone was created. Clean amps work, but the sound in your head usually has some overdrive after the fuzz.\u003c\/p\u003e\u003cp\u003eNeck pickup, above the twelfth fret — that's where the octave effect is most pronounced. Humbuckers push the swell and octave harder. Single coils give more clarity. Both sound great.\u003c\/p\u003e\u003cp\u003eWHO THIS IS FOR\u003c\/p\u003e\u003cp\u003eThis pedal isn't for everyone, and we're good with that. If you love Hendrix, Jack White, Gary Clark Jr., Beck, Black Keys, or the octave fuzz on John Mayer's \"Belief\" — you already know you want this. If you're a doom player, a riff rocker, a blues explorer. If you've tried every fuzz on the market and you're still looking for the one you haven't played — you're the Coyote. You're the fuzz scavenger. We found something for you.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE BUILDER\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eGlenn S. Wyllie grew up in New Jersey, learned to read schematics from his electrical-engineer father by age twelve, and built his first fuzz pedal at seventeen after hearing \"Satisfaction.\" He met Jimi Hendrix several times in Greenwich Village during that era — and never stopped chasing that sound.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eHe settled in the Appalachian foothills of North Carolina — woodstove heat, a dog named Simon, a Hendrix poster on the door, and metal guitar shapes hanging from the trees in his driveway. He worked at a local music store, played guitar in a band called Muletrain, and built pedals one at a time for anyone who found him.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eHis work ended up on recordings and stages with Paul Simon, Bruce Springsteen, Stevie Wonder, David Byrne, Joan Baez, and dozens more — played by NYC guitarist Mark Stewart, who called Glenn an \"unacknowledged American master.\" Glenn should be talked about alongside Mike Fuller, Paul Cochrane, Analog Mike, Zachary Vex, and Dave Barber — the pioneers of boutique. But nobody knows his name.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWe couldn't find his family to tell them about this project. We tried. He's as elusive in death as he was in life. A true coyote.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONTROLS\u003c\/p\u003e\u003cp\u003eVolume — Controls the output volume. Left is less, right is more.\u003c\/p\u003e\u003cp\u003eSwell \/ Fuzz \/ Octave — Sweeps through three distinct zones. Fully counterclockwise: gated swell with blooming, reversed-tape character. Noon: full, rich fuzz. Fully clockwise: aggressive octave-up with snarling harmonics.\u003c\/p\u003e\u003cp\u003eSPECIFICATIONS\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003eTrue Bypass\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e9VDC Center Negative, 5mA\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eTHIS PEDAL MEASURES 2.6\" X 4.8\" X 1.6\" AND CONSUMES 5mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384752350,"sku":null,"price":215.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-red-remote","title":"JHS Red Remote","description":"\u003cp\u003eUse 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:\u003c\/p\u003e\u003cp\u003eMORNING GLORY V4\u003c\/p\u003e\u003cp\u003eSUPERBOLT V2\u003c\/p\u003e\u003cp\u003eTWIN TWELVE V2\u003c\/p\u003e\u003cp\u003eDOUBLE BARREL V4\u003c\/p\u003e\u003cp\u003eKILT V2\u003c\/p\u003e\u003cp\u003eSWITCHBACK\u003c\/p\u003e\u003cp\u003eWhen 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTo 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.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384785118,"sku":null,"price":65.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-active-a-b-y","title":"JHS Active A\/B\/Y","description":"\u003cp\u003eThe JHS Pedals Active A\/B\/Y is the perfect solution when you need to send one signal to two outputs with the ability to choose either output (or both) on the fly.\u003c\/p\u003e\u003cp\u003eJust plug in your instrument cable (or patch cable) into the input, then use the outputs to send signal to any combination of amplifiers, interfaces, mixing board, or anywhere else you want to send your signal. Once hooked up, use the left footswitch to select between A and B channels. When the LED is red, the A channel is engaged. When the LED is green, the B channel is engaged.  Hit the right “Y” footswitch to engage BOTH channels for full stereo output. Because the Active A\/B\/Y has an output transformer on one of the outputs, there is no need for a ground lift as the transformer eliminates any hum.\u003c\/p\u003e\u003cp\u003eThe Active A\/B\/Y has a high impedance buffered input. The outputs are isolated from each other to eliminate ground loops. The transformer isolated output, the A channel (red LED), has a signal polarity reversal switch that can be used in cases where there is signal cancellation. When the side switch is pushed in, the polarity is inverted. The signal polarity reversal switch only applies to the A channel (red LED). \u003c\/p\u003e\u003cp\u003eWith an output transformer, FET transistors for completely silent switching, the capability to use one or both outputs simultaneously, the JHS Pedals Active A\/B\/Y will be the one pedal that you can never leave home without!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 47MA, AND MEASURES L 4.42” X W 2.38” X H 1.22”\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE ACTIVE A\/B\/Y IS DESIGNED TO WORK WITH INPUT SIGNALS THAT ARE BELOW 14V INPUT GAIN. ANYTHING ABOVE 14V INPUT GAIN WILL CAUSE THE UNIT TO CLIP.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384850654,"sku":null,"price":189.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-mute-switch","title":"JHS Mute Switch","description":"\u003cp\u003eWith a name like the JHS Pedals Mute Switch, it doesn’t take a rocket surgeon to guess what this little guy does. But in case you’re still curious, it’s a switch that mutes your signal. This latching design lets you immediately cut your signal for silent tuning, breaks between sets, and more. We’d love to go on about this valuable tool...but we’ve pretty much covered it.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIT TURNS YOUR SIGNAL ON AND OFF\u003c\/p\u003e\u003cp\u003eThis Mute Switch mutes your sound. It’s that simple. And yet we think that with its color-changing LED indicator, high-grade components, and convenient compact size, the JHS Pedals Mute Switch does it better than any other.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- Small size is ideal for saving pedalboard space\u003cbr\u003e- Easy-to-use latching design\u003cbr\u003e- Enjoy absolute silence from everything before it in the chain\u003cbr\u003e- Works great on pedalboards and in effects loops\u003cbr\u003e- LED indicator changes from blue to red to show if the mute is engaged\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eNOTE that this is NOT a momentary switch. When clicked, the signal stays in the position chosen.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL IS PASSIVE BUT REQUIRES STANDARD 9V DC NEGATIVE FOR THE LED TO FUNCTION AND IT MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384883422,"sku":null,"price":95.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-buffered-splitter","title":"JHS Buffered Splitter","description":"\u003cp\u003eThere are so many reasons to add the JHS Pedals Buffered Splitter to your pedalboard. But the most important one is great tone. If you’ve ever split your guitar’s signal with a passive device, adapter, or even certain effects pedals, you know that the results can sometimes be less than stellar. This happens because many of those products simply cut your tone in two, sending one half one way and the other half the other way. You can end up with a tone that is muddy and lifeless. Adding our Buffered Splitter to your chain not only avoids these issues, but it will perfectly drive your long cable runs and pedalboard chains as well. Trust us on this one. If you need to split your signal for any host of reasons, putting our Buffered Splitter on your board will give you your tone back.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSIMPLE AND EFFECTIVE SIGNAL-SPLITTING DEVICE\u003c\/p\u003e\u003cp\u003eThere are a ton of applications for adding a Buffered Splitter to your signal chain. Whether moving a tuner out of line or running a dual-amp setup, once you use the JHS Buffered Splitter, you’ll never be without one again. Here are just a few options.\u003c\/p\u003e\u003cp\u003e- Send one signal to a tuner that is out of the signal chain while retaining your full tone\u003cbr\u003e- In a dual-amp setup, both amplifiers will see a powerful, clean signal\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eKEEPS YOUR TONE CLEAR, POWERFUL, AND PRISTINE \u003c\/p\u003e\u003cp\u003eIf you’re as pedal happy as we are at JHS, you’re going to want this quality buffer in your signal chain. The Buffered Splitter is like giving each output a shot of adrenaline, ensuring they hit your amp with the same strength and character as they left your fingers.\u003c\/p\u003e\u003cp\u003e- Converts your guitar’s hi-Z signal to lo-Z for driving long cables and pedal chains\u003cbr\u003e- Retains the original tone of your guitar without coloration from the other gear in your signal chain\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONVENIENT LOW-PROFILE DESIGN\u003c\/p\u003e\u003cp\u003eA device such as the Buffered Splitter is content to be a workhorse piece of gear that quietly does its job in the background. That’s why we designed this little guy to be compact, sturdy, and simple to integrate into your rig.\u003c\/p\u003e\u003cp\u003e- Small size is ideal for saving pedalboard space\u003cbr\u003e- Can easily be mounted underneath your board\u003cbr\u003e- Built rugged\u003cbr\u003e- Black powder coating keeps the buffer hidden in the background\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 19MA, AND MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE BUFFERED SPLITTER IS DESIGNED TO WORK WITH INPUT SIGNALS THAT ARE BELOW 10V INPUT GAIN. ANYTHING ABOVE 10V INPUT GAIN WILL CAUSE THE UNIT TO CLIP. NOT RECOMMENDED FOR USE WITH BASS GUITARS.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384916190,"sku":null,"price":135.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-little-black-buffer","title":"JHS Little Black Buffer","description":"\u003cp\u003eThough it’s a fairly nondescript-looking piece of gear, our Little Black Buffer may be the most powerful tone-shaping tool that you put on your pedalboard. By adding it to your signal path, you’ll restore all the high-end detail, output level, and tonal character that involved pedal chains and long cable runs steal away. And because the Little Black Buffer is an on-all-the-time sort of thing, you can save precious real estate by mounting it on the underside of your pedalboard. Give the Little Black Buffer a try. You’ll wonder how you went so long without one.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eKEEPS YOUR TONE CLEAR, POWERFUL, AND PRISTINE\u003c\/p\u003e\u003cp\u003eIf you’re as pedal happy as we are at JHS, you’re going to want a quality buffer in your signal chain. The Little Black Buffer is like giving your guitar’s tone a shot of adrenaline, ensuring it hits your amp with the same strength and character as it left your fingers.\u003c\/p\u003e\u003cp\u003e- Converts your guitar’s hi-Z signal to lo-Z for driving long cables and pedal chains\u003cbr\u003e- Retains the original tone of your guitar without tone loss from other gear in your signal chain\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONVENIENT LOW-PROFILE DESIGN\u003c\/p\u003e\u003cp\u003eAn active buffer, such as the Little Black Buffer, is content to be a workhorse piece of gear that quietly does its job in the background. That’s why we designed this little guy to be compact, sturdy, and simple to integrate into your rig.\u003c\/p\u003e\u003cp\u003e- Small size is ideal for saving pedalboard space\u003cbr\u003e- Can easily be mounted underneath your board\u003cbr\u003e- Built rugged\u003cbr\u003e- Black powder coating keeps the buffer hidden in the background\u003c\/p\u003e\u003cp\u003ePlug your guitar straight into the input then out into your pedal chain. No need for a switch.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 19MA, AND MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE LITTLE BLACK BUFFER IS DESIGNED TO WORK WITH INPUT SIGNALS THAT ARE BELOW 10V INPUT GAIN. ANYTHING ABOVE 10V INPUT GAIN WILL CAUSE THE UNIT TO CLIP. NOT RECOMMENDED FOR USE WITH BASS GUITARS.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384948958,"sku":null,"price":125.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-little-amp-black-box","title":"JHS Little Amp Black Box","description":"\u003cp\u003eTaming a screaming-loud tube amp doesn’t always require bulky and expensive load boxes and attenuators. If your amp has a series effects loop, the JHS Pedals Little Black Amp Box takes care of the job while being able to fit into the palm of your hand. Simply run it through your amp’s effects loop and control the amount of signal you send to your amplifier’s power section. You’ll love the way the Little Black Amp Box lets you really push the front end of your amp for the natural feel and tone that you can’t get any other way. And your bandmates, sound engineer, parents, neighbors, significant other, and pets will love the way it can keep your volume down to bedroom levels.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cem\u003e**WARNING**\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eATTEMPTING TO PLACE THE LITTLE BLACK AMP BOX BETWEEN THE POWER SECTION OF YOUR AMPLIFIER AND YOUR SPEAKERS WILL RESULT IN DAMAGE TO YOUR GEAR. PLACE IT IN A SERIES EFFECTS LOOP ONLY.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eDO NOT USE WITH A PARALLEL EFX LOOP, IT WILL NOT PRODUCE INTENDED EFFECT\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCRANKED AMP TONE AT WHISPER VOLUME\u003c\/p\u003e\u003cp\u003eIf your amp has a series effects loop, you should stop reading this and go buy a JHS Pedals Little Black Amp Box. All the roaring amp tones you need come with none of the ear-bleeding levels.\u003c\/p\u003e\u003cp\u003e- Run it in your effects loop to turn down a turned-up amp\u003cbr\u003e- Retain the response and tone of your amp’s sweet spot at lower levels\u003cbr\u003e- High-grade components keep your tone clear and pure\u003cbr\u003e- Passive design doesn’t require any power\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONVENIENT LOW-PROFILE DESIGN\u003c\/p\u003e\u003cp\u003eA device such as the Little Black Amp Box is content to be a workhorse piece of gear that quietly does its job in the background. That’s why we designed this little guy to be compact, sturdy, and simple to integrate into your rig.\u003c\/p\u003e\u003cp\u003e- Small size is ideal for saving pedalboard space or even setting on top of your amp\u003cbr\u003e- Can easily be mounted underneath your board\u003cbr\u003e- Built rugged\u003cbr\u003e- Black powder coating keeps the buffer hidden in the background\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eWE DO NOT SUGGEST RUNNING OTHER PEDALS IN THE EFFECTS LOOP WITH THE LITTLE BLACK AMP BOX AS IT WILL AFFECT THE WAY YOUR OTHER PEDALS SOUND. STILL, FEEL FREE TO EXPERIMENT WITH IT AS IT WILL NOT DAMAGE YOUR OTHER PEDALS.\u003c\/p\u003e\u003cp\u003eTHIS PEDAL DOES NOT REQUIRE POWER AND IT MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215384981726,"sku":null,"price":95.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-volture","title":"JHS Volture","description":"\u003cp\u003eSince the fuzz effect was invented in the early sixties, guitar players have gone to great lengths to achieve the perfect fuzz tone. Legends say that Duane Allman placed his fuzz pedal in the freezer between sessions to cool down the transistors, and that Roger Mayer meticulously modified Hendrix’s Fuzz Faces beyond recognition in search of an elusive, magical fuzz experience. Fortunately, even apart from these mythological methods, there’s one trick that always works: use a dying battery. Inherently simple devices like fuzz circuits are extremely sensitive to the amount of voltage that they receive, thus any change in the voltage from your power supply will cause drastically different tones. Guitarists eventually caught on to this hack and began draining their batteries to try and find the sweet spot for their fuzz pedal. A good idea in theory, but who has time for that? Then, just a few years ago, a certain unnamed guitarist reached out to me for a practical solution for this technique– and the Volture was born. \u003cbr\u003e\u003cbr\u003eThe Volture is a modern day device for your vintage fuzz circuitry. Simply place it in between your power supply and your pedal, and you can precisely trim the input voltage and perfectly replicate the tone of a dying battery. As the song says, “Power is made by power being taken.” \u003c\/p\u003e\u003cp\u003eThough we developed it specifically for vintage fuzz circuits, the Volture will work on any fully analog pedal. In fact, you might be surprised by the trippy sounds you find lurking in your favorite overdrive or distortion.\u003c\/p\u003e\u003cp\u003eWith the Volture, you can input 9, 12 or 18VDC and output an adjustable voltage from 7.5VDC down to 1.25VDC, creating gated, distorted, possibly glitchy but always sputtery fuzz sounds. Input voltage is 9VDC to 18VDC, center negative. Output voltage is 1.25VDC to 7.5VDC, center negative. The Volture uses 10mA in addition to the power when it is active. The Volture should be used with pedals less than 50mA.\u003c\/p\u003e\u003cp\u003eNOTE: As you turn the voltage down, the LED will dim simultaneously with the voltage level. \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTHE VOLTURE USES INDUSTRY STANDARD 2.1MM POWER SUPPLY CABLES\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 12MA, AND MEASURES 3.6\"X1.5\"X1\"\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e**WARNING**\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe Volture should not be paired with any digital\/logic circuitry-based pedal, otherwise the user risks potential damage to the pedal being powered due to inadequate voltage. As long as your pedal is all analog, you’ll be fine. A dying battery never hurt an analog circuit.\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385014494,"sku":null,"price":115.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-switchback","title":"JHS Switchback","description":"\u003cp\u003eThe JHS Pedals Switchback is a small unassuming box with a massive feature set. It began its life as a device that we designed just for ourselves to test and compare pedals in the JHS workshop but we soon realized that it was extremely useful for everyone’s guitar rig on stage or in the studio.\u003c\/p\u003e\u003cp\u003eThe Switchback has one input, one output and two separate selectable effects loops (Send\/Return), plus an A\/B toggle that is controllable by our Red Remote switching system. The foot-switch is 100% true bypass, so when it’s off, it's not affecting your signal in any way. There are millions of ways to use the Switchback (Maybe not a million but… You get the idea) but here are a few of our favorite applications that are incredibly useful!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e1. AN A\/B TRUE BYPASS LOOPER\u003c\/p\u003e\u003cp\u003ePlace a pedal or chain of pedals in the first loop and place a different pedal or chain of pedals in the second loop. The toggle\/red remote will allow you to quickly switch between those two loops. This is great for instantly placing different effects chains in and out of your rig on the fly or for shooting out two pedals with zero dead time in-between playing… Find out if that old TS808 sounds better than your TS-9 :-) if you demo different pedals, this is a must have.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e2. A SIMPLE TRUE BYPASS LOOPER\u003c\/p\u003e\u003cp\u003e\u003cbr\u003ePlace your pedal or chain of pedals that you want in the first loop. The toggle\/Red Remote will now toggle between the loop with your effects and the clean bypass signal. There’s no need to bridge the second loop with a patch cable as the Switchback automatically bypasses any loop where there’s nothing plugged in to the jack.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e3. AN A\/B BOX\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eSimply use Send 1 and Send 2 to go to two different amps or any other application where you need two switchable outputs, and don’t use the output. Again, using the Red Remote gives you the ability to switch on the fly while playing!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e4. AN AMP INPUT SWITCHER\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eUse Send 1 to channel one and Send 2 to channel two. This allows you to “channel switch” on any amp with multiple inputs like old Marshalls and Fenders!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e5. AN EFFECTS LOOP A\/B\u003c\/p\u003e\u003cp\u003e\u003cbr\u003ePlug your amp's effects loop Send into the input and the amps return into the output. Then toggle between the two loops of the Switchback as in example #1 above.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eBecause of the red remote function you can place the Switchback and any effects in its loops completely out of sight under your pedal board or in a rack while only having the small 1x1” Red Remote accessible!!!\u003c\/p\u003e\u003cp\u003eThe Switchback could become an essential utility in your touring rig or studio, helping you solve many switching puzzles with your rig. So grab a Switchback and get to climbing!\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385047262,"sku":null,"price":175.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-summing-amp","title":"JHS Summing Amp","description":"\u003cp\u003eThe JHS Pedals Summing Amp gives you the ability to take two inputs and blend them into one output.  Simply plug into the two marked inputs and then plug in your single output and you’re ready to go. From two signals the Summing Amp creates one mono signal.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThis is perfect for putting effects in parallel so that they are not affected by one another. The Edge used this technique in the 80s with his delays. When you have a quarter note delay and a dotted eighth delay and you place them in parallel then sum them back together, the effect is that both delays come through more clearly and are not “delaying the delays”. This can also be used with overdrives so that they are not pushing each other as in series, but sit atop one another in parallel. Another use is combining fuzz and compression in parallel so the fuzz isn’t getting choked by the compression.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe Summing Amp gives you the ability to use effects together in completely new ways that you may never have imagined and can open up new and inspiring sounds with your old effects. This simple little box takes two inputs and creates one output but it adds up to a whole lot more!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 19MA, AND MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE SUMMING AMP IS DESIGNED TO WORK WITH INPUT SIGNALS THAT ARE BELOW 14V INPUT GAIN. ANYTHING ABOVE 14V INPUT GAIN WILL CAUSE THE UNIT TO CLIP.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385080030,"sku":null,"price":125.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-mini-a-b","title":"JHS Mini A\/B","description":"\u003cp\u003eThere 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHE DO-IT-ALL SWITCH\u003c\/p\u003e\u003cp\u003eHow 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.\u003c\/p\u003e\u003cp\u003e- Instantly swap between two instruments\u003cbr\u003e- Perfect for switching tones on dual-amplifier rigs\u003cbr\u003e- Isolate your tuner from the signal chain, while achieving silent onstage tuning\u003cbr\u003e- Leave output unplugged for a convenient mute function\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONVENIENT LOW-PROFILE DESIGN\u003c\/p\u003e\u003cp\u003eLike 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.\u003c\/p\u003e\u003cp\u003e- Small size is ideal for saving pedalboard space\u003cbr\u003e- LED indicator tells you which ¼” you have selected\u003cbr\u003e- Can run perfectly without power\u003cbr\u003e- Built rugged\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eTHIS PEDAL IS PASSIVE BUT REQUIRES STANDARD 9V DC NEGATIVE POWER FOR THE LED TO FUNCTION AND IT MEASURES 3.6\"X1.5\"X1\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385112798,"sku":null,"price":95.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-emperor-v2","title":"JHS Emperor V2","description":"\u003cp\u003eIn 2014 we brought you the Emperor V1, a 100% Analog Chorus\/Vibrato with Tap Tempo. Now in 2018 we are proud to bring you the Emperor V2!\u003c\/p\u003e\u003cp\u003eThere are two ways to look at the JHS Pedals Emperor Analog Chorus\/Vibrato pedal. The Emperor V2 is a vintage-correct effect that absolutely nails the hard-to-find sound of the Arion SCH-1...but its also a do-it-all modulation solution whether you want a subtle sheen, convincing rotary simulation, or seasick vibrato. It utilizes a Bucket Brigade 3207 chipset to deliver the warmth of ‘80s-style analog chorus pedals and we've added enough onboard and outboard control to put you in command of every aspect of the Emperor’s voice. Whether spreading its warm tones or icy sheen to a pristine-sounding stereo rig... or utilizing an external expression pedal to cop realistic rotary speaker sounds on a blues gig, the Emperor can do it all.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSO MUCH MODULATION\u003c\/p\u003e\u003cp\u003eWe call the Emperor an analog chorus\/vibrato. That’s just because calling it a true analog chorus\/pitch vibrato with tap tempo\/waveform selection\/rotary speaker simulation\/true stereo output\/and more pedal would have been a pain to write every time.\u003c\/p\u003e\u003cp\u003e- The glorious tones of a real-deal, 3207 chipset bucket brigade topology\u003cbr\u003e- Mini toggle switch selects between chorus and vibrato effects\u003cbr\u003e- Three available waveform types (sine, square, and triangle)\u003cbr\u003e- Intuitive controls for Volume, EQ, Speed, and Depth\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eUPDATED TONE SHAPING CAPABILITIES\u003c\/p\u003e\u003cp\u003eMaking a good thing better? Yes please. The Emperor V1 had a Tone control which has now become the EQ control in the Emperor V2. We've replaced the passive tone control in the V1 with an active EQ control that functions as a Tilt. You'll now have much more tone shaping capability in the V2. The overall EQ control is much improved in the Emperor V2 and you will not lose any low-end sometimes commonly found with chorus\/vibrato pedals.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIN-DEPTH TEMPO CONTROL\u003c\/p\u003e\u003cp\u003eTo control the rate of the Emperor’s effect, simply turn the Speed knob up and down or tap the tap tempo footswitch. Or for the more adventurous among us...plug in an expression pedal for variable control in real time. And you can even slave the pedal to other tap-controlled pedals for rhythmic consistency across all your effects.\u003c\/p\u003e\u003cp\u003e- Control the rate with the onboard Speed knob or tap tempo footswitch\u003cbr\u003e- Tap\/Exp mini switch on the left side of the pedal controls the side-mounted Tap\/Exp TRS jack\u003cbr\u003e- Use an external source to control the rate in the Tap Out setting (works great with our Panther Cub Delay and Unicorn pedals).\u003cbr\u003e- LED indicator notifies you of the effect’s tempo, even when disengaged\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eA FEW EXTRAS\u003c\/p\u003e\u003cp\u003eYou knew we would throw in a few extra features for you, didn’t you? Of course we did. When designing the Emperor, we conveniently and inconspicuously tucked in stereo output and the ability to select between buffered or true-bypass operation.\u003c\/p\u003e\u003cp\u003e- Plugging TRS splitter cable into the output jack is all it takes to wring true stereo output from the Emperor\u003cbr\u003e- Internal switch changes from buffered to true-bypass operation**\u003cbr\u003e- High-quality buffer helps drive long cable runs and in-depth pedal setups while restoring high-end loss\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385178334,"sku":null,"price":316.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-unicorn-v2","title":"JHS Unicorn V2","description":"\u003cp\u003eIn 2015 we brought you the Unicorn V1, the world's first bulb-driven photocell modulator with tap tempo, the JHS Uni-Vibe. As of Spring 2018, we are proud to bring you the Unicorn V2!\u003c\/p\u003e\u003cp\u003ePink Floyd’s “Breathe,” Jimi Hendrix’s live Woodstock performance of “The Star-Spangled Banner,” and Robin Trower’s “Bridge of Sighs” cemented the sound of a photocell-based vibe effect as an electric guitar standard. The JHS Pedals Unicorn is our version of this heralded effect, continuing the inspiring modulation\/phasing\/rotary sounds that never fail to push musical boundaries. And just like the originals, we included a toggle for choosing between a Uni-Vibe* effect and a traditional vibrato setting. What sets Unicorn apart from all other vibe-style circuits is that it is the first-ever fully analog, photocell-based vibe with tap tempo as well as ratio, external tap control, and external rate control via expression pedal (optional). And the Unicorn does it all with only four knobs and a mini-toggle switch. In a day and age when everything has been seen and done, we bring you the first-ever, 100% analog vibe photocell modulator with onboard tap tempo. You’re welcome.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSOUNDS AS GOOD AS YOU REMEMBER\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Unicorn is bursting with all the lush and washy pulsations that changed what the electric guitar could sound like in the 1960s. And this is no digital emulation. The Unicorn sports the real-deal, analog photocell topology of the original units.\u003c\/p\u003e\u003cp\u003e- Sounds like the original because it’s built like the original\u003c\/p\u003e\u003cp\u003e- All-analog signal path delivers a warm, touch-sensitive tone\u003c\/p\u003e\u003cp\u003e- Dry\/Wet toggle selects between a Uni-Vibe* and vibrato effect\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIN-DEPTH TEMPO CONTROL\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThere are other analog vibe pedals and there are pedals with tap-tempo control, but-- if you’ll indulge us in a brief humble brag --the JHS Unicorn is the first to put ‘em together. Add optional external speed control and a ratio knob that determines the rhythmic subdivisions (or as we like to say, how much fairy dust enters into the flux capacitor of the Unicorn) and you have one of the most versatile vibe pedals on the market.\u003c\/p\u003e\u003cp\u003e- Control the rate of the effect with the Speed knob or onboard tap-tempo footswitch\u003c\/p\u003e\u003cp\u003e- Want quarter note, dotted eighth, or triplet rhythms? They’re all found on the Ratio knob\u003c\/p\u003e\u003cp\u003e- LED indicator notifies you of the effect’s tempo, even when disengaged\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEXTERNAL TEMPO AND EXPRESSION CONTROL\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eBut wait, there’s more! One of the things that makes the vintage Shin-ei* Uni-Vibes* so desirable is your ability to control the effect’s rate in real time with an external expression pedal. How could we not include that!? And to go one step further, you can slave the pedal to other tap-controlled pedals for rhythmic consistency across all your effects.\u003c\/p\u003e\u003cp\u003e- Internal Tap\/Expression mini switch controls the side-mounted Tap\/Exp TRS jack\u003c\/p\u003e\u003cp\u003e- Expression pedal control of the Unicorn’s rate in the Exp setting\u003c\/p\u003e\u003cp\u003e- Use an external source to control the rate in the Tap Out setting (which coincidentally works great with our Panther Cub Delay and Emperor Chorus pedals)\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCOULDN’T BE EASIER TO USE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOne of the things we’re most proud of with the Unicorn Uni-vibe* Photocell Modulator is how easy it is to dial up the exact pulse of a mystical Unicorn running across a field of 4-leaf clovers…but only if you dare.\u003c\/p\u003e\u003cp\u003e- Four knobs and a mini toggle are all you need for a world of syrupy, modulated tones\u003c\/p\u003e\u003cp\u003e- Left two controls are your tone, right two controls are your speed, toggle is your effect. It’s that simple.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Larger enclosure.\u003c\/p\u003e\u003cp\u003eV2 = Smaller enclosure.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385211102,"sku":null,"price":316.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-artificial-blonde","title":"JHS Artificial Blonde","description":"\u003cp\u003eWhen Madison recorded her second full-length album, \u003cem\u003eWho You Are Now\u003c\/em\u003e, her producer Tyler Chester was already in contact with us about getting a few modulation pedals to develop her new foundational sound. Madison ended up heavily using the JHS Emperor Chorus \/ Vibrato as her foundational and always on signature sound throughout those sessions.\u003c\/p\u003e\u003cp\u003eOver the next few years, Madison and Josh became good friends after Josh featured her on the JHS Show episode “Who Is Madison Cunningham?” Josh would often stop by her concerts as an unofficial guitar tech, building her boards and helping find solutions for sounds she wanted. During a sound check in Lawrence, KS, Josh noticed that even though her Emperor was always on and in vibrato mode, Madison kept reaching down to switch the settings to create another faster and deeper vibrato tone for a particular song. Sensing an opportunity to make it easier to use during live shows, Josh developed the idea for an entirely new stompbox that suited Madison’s needs, and soon she was touring with that first prototype.\u003c\/p\u003e\u003cp\u003eMadison traveled doing live shows and sessions for her new album with the prototype for a full year (you may recognize it as the black nondescript stompbox labeled “BLONDE?”), but we’re releasing it officially as the newest member of the JHS lineup and as Madison Cunningham’s signature pedal: the Artificial Blonde.\u003c\/p\u003e\u003cp\u003eAt its core, the Artificial Blonde is a very simplistic approach to Madison’s signature sound: a never off, always on, slightly 3D pitch vibrato sound. The secondary footswitch switches between the two speed\/depth preset sections. It’s a true pitch vibrato modulation pedal with two easy-to-access modes for live use. Simply put, this \u003cem\u003eis \u003c\/em\u003eMadison Cunningham in a box: just add a clean Fender-style amp and tune your guitar strings down!\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVOLUME -\u003c\/strong\u003e Controls the overall volume of the pedal. Left is less, right is more.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEQ -\u003c\/strong\u003e The EQ control is an active tilt EQ. Noon is flat. Turning to the left boosts lows and cuts highs, while turning to the right boosts highs and cuts lows.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSPEED -\u003c\/strong\u003e Controls the rate of the vibrato. Left is slower, right is faster.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDEPTH -\u003c\/strong\u003e Controls the depth of the vibrato. Left is less, right is more.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eINPUT -\u003c\/strong\u003e 1\/4” jack on the top right receives your instrument’s signal.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eOUTPUT MONO\/STEREO –\u003c\/strong\u003e 1\/4” jack outputs. Use the MONO output for a mono signal path or use both the MONO and STEREO output jacks for a 3D stereo soundscape.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePOWER -\u003c\/strong\u003e Uses 9V DC Negative Center. Do not use more than 9V DC. Damage may occur and your warranty will be voided.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBYPASS -\u003c\/strong\u003e Left footswitch turns the effect on and off. When off, the pedal is buffered bypass and both outputs pass the normal dry signal.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePRESET –\u003c\/strong\u003e Right footswitch changes the preset to A or B. On power up the default is preset B.  Each preset has the same speed and depth range and allows you to create two different switchable settings.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385243870,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-spring-tank","title":"JHS Spring Tank","description":"\u003cp\u003eSpring 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e– Dial in the perfect reverb with Depth and Length controls\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e– Set your primary reverb mix with the Tank 1 control\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e– Set your secondary reverb mix with the Tank 2 control and switch it on the fly with the Tank 2 switch\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e– Set the reverb tone with the highs control\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e– Boost your overall volume with the Boost control\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eWith options a plenty and easy to use controls, blast your signal into the stratosphere with the Spring Tank!\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Rebranded from the Alpine.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385276638,"sku":null,"price":258.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-milkman","title":"JHS Milkman","description":"\u003cp\u003eThe JHS Pedals Milkman began with a conversation between Josh Scott and Tim Marcus of Milkman Sound. Tim wanted a pedal that could pair perfectly with the tremolo and reverb on his amps, something that country and Americana players could use as their only pedal if desired. Thus the Milkman was born, a perfect combo of slap delay and clean boost that will give you just what you need and not too much. So pour yourself a big glass and tip it back because the Milkman is about to deliver!\u003c\/p\u003e\u003cp\u003eFEATURES\u003c\/p\u003e\u003cp\u003eThe Milkman has two fully independent effects with the boost on the right side and the slap delay on the left. The boost is a fully clean boost that is fantastic to push your amp into natural overdrive or leave on all the time as a preamp. The slap delay has controls for Slap, Mix, Repeat, and EQ. The Slap control adjusts the time of the delay from 0ms, which can create a doubled type effect, to 250ms to give you just enough echo to get some spacious sounds. The Mix control adjusts the volume of the echo. The Repeat control adjusts the number of repeats the delay will give you. The EQ control adjusts the brightness of the repeats to give you the ability to have a darker more ambient sound or a brighter, chirpier sound that cuts through the mix.\u003c\/p\u003e\u003cp\u003eSPECS\u003c\/p\u003e\u003cp\u003e- Two fully independent effects in one small footprint.\u003cbr\u003e- Boost allows you to have an always-on preamp or send your amp into natural breakup.\u003cbr\u003e- Slap delay to give you just the right amount of echo to give your tone the cream on top.\u003cbr\u003e- Perfect for slide, country, rockabilly, and Americana.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385342174,"sku":null,"price":258.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-whitey-tighty","title":"JHS Whitey Tighty","description":"\u003cp\u003eJHS 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eTighten up your tone with the JHS Pedals Whitey Tighty!\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385374942,"sku":null,"price":195.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-pulp-n-peel-v4","title":"JHS Pulp N Peel V4","description":"\u003cp\u003eThe Pulp ‘N’ Peel V4 is the truly transparent compressor pedal you’ve been dreaming of. 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”, balanced XLR outputs have you covered. This compressor\/preamp pedal sports a ton of tone-shaping power, so no matter what your compression needs are, the Pulp ‘N’ Peel V4 is your go-to solution.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTHE EXACT COMPRESSION YOU’VE BEEN WAITING FOR\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWe know how much effort you put into getting your tone exactly right. That’s why we worked so 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 from your amplifier.\u003c\/p\u003e\u003cp\u003e- Improved detection circuit for smoother tones with added sustain\u003c\/p\u003e\u003cp\u003e- Active EQ control that cuts or boosts high end\u003c\/p\u003e\u003cp\u003e- Parallel Blend control balances your compressed and uncompressed signals\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWARM STUDIO-STYLE GRIT TO HELP YOU CUT THROUGH\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eWhether 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.\u003c\/p\u003e\u003cp\u003e- Dirt voiced to go from warm tone enhancement to gritty tonal foundation\u003c\/p\u003e\u003cp\u003e- Low-profile gain control is safely located on the side of the pedal\u003c\/p\u003e\u003cp\u003e- Works especially great on bass\u003c\/p\u003e\u003cp\u003e- Increased output works as a fantastic full-frequency boost\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eONSTAGE, IN THE STUDIO, OR ANYWHERE ELSE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eNo 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.\u003c\/p\u003e\u003cp\u003e- Standard ¼” instrument input and output\u003c\/p\u003e\u003cp\u003e- XLR\/DI balanced output for going direct to the board or interface (try it on acoustic and bass!)\u003c\/p\u003e\u003cp\u003e- Ground-lift switch to eliminate hum and buzz (if dealing with unwanted ground loops when interfacing with other equipment)\u003c\/p\u003e\u003cp\u003e- High-quality “always-on” buffer\u003c\/p\u003e\u003cp\u003e \u003cstrong\u003eVERSION HISTORY:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Only two knobs; no logo; extremely rare.\u003c\/p\u003e\u003cp\u003eV2 = Three controls; softer orange color; older orange slice logo.\u003c\/p\u003e\u003cp\u003eV3 = Three controls; includes LBB via internal dip switch.\u003c\/p\u003e\u003cp\u003eV4 = Four controls; added EQ knob, Dirt Toggle, and XLR output.\u003c\/p\u003e\u003cp\u003eV4.5 = Buffer switch removed; buffered bypass switching added.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385407710,"sku":null,"price":287.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-prestige","title":"JHS Prestige","description":"\u003cp\u003eThe JHS Pedals Prestige is a booster\/buffer\/enhancer that will give you that “something”, the magic that you’ve been looking for. In a simple package, the Prestige can be used as an always-on preamp or buffer, or you can crank it up to send your amp into a natural overdrive that will dazzle audiences far and wide.\u003c\/p\u003e\u003cp\u003eThe Prestige features one knob for volume. In the first 25%, you have a natural buffer\/enhancer that is great for long cable runs or just to add a touch of brightness to your signal. At 25% to 75% the Prestige becomes a volume boost to give you a nice push for solos or to put in front of an overdrive to create more saturation. Above 75% and you’ll be sending your amp into a meaty natural breakup by pushing the tubes on your amp. This can be used as a first stage overdrive or a second stage to maintain your other overdrives’ tone while giving more of everything you love.\u003c\/p\u003e\u003cp\u003e- One knob that has plenty of tricks up its sleeve\u003c\/p\u003e\u003cp\u003e- Buffer\/Enhancer for long cable runs or an always-on preamp\u003c\/p\u003e\u003cp\u003e- Booster for solos, saturating another overdrive or overdriving your amp\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Rebranded from the Mr. Magic. Smaller enclosure.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385440478,"sku":null,"price":186.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-haunting-mids","title":"JHS Haunting Mids","description":"\u003cp\u003eAre 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONTROLS \u0026amp; FEATURES\u003c\/p\u003e\u003cp\u003eThe 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 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 effect 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.\u003c\/p\u003e\u003cp\u003eThis 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.\u003c\/p\u003e\u003cp\u003e– Simple yet effective tool to boost\/cut the perfect amount of midrange frequencies.\u003cbr\u003e– Sweepable midrange frequency to find the perfect EQ to slice through any mix.\u003cbr\u003e– Turn any amp or pedal into a totally different ghastly monster.\u003cbr\u003e– Don’t forget the Volume BOOOOOOst.\u003c\/p\u003e\u003cp\u003eSo go and wake the undead with the ghostly sounds of the Haunting Mids!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eSPECS\u003c\/p\u003e\u003cp\u003e- Will boost +10dB with EQ flat\u003cbr\u003e- Total Harmonic Distortion 0.007%\u003cbr\u003e- Signal to noise ration 83dB\u003cbr\u003e- +\/- 15dB boost or cut\u003cbr\u003e- Sweepable center frequency from 400Hz to 7.5kHz\u003cbr\u003e- Switchable Q (LO-gentle broad, HI-peaking tight)\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385604318,"sku":null,"price":215.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-clover","title":"JHS Clover","description":"\u003cp\u003eIn early 1984 BOSS released two strange new devices under the name “The Pocket Series”. One of those devices was the FA-1 FET Preamp and it quickly found its rightful place among the legends of tone when The Edge of U2 used it on the recording of “Unforgettable Fire” as well as placing it in his following touring rigs. The Clover Preamp\/Boost is our faithful interpretation of the FA-1 but with several additional features that we believe make this amazing circuit even better. You won’t want to be without your lucky tone-shaper at any gig!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONTROLS\u003c\/p\u003e\u003cp\u003eThe Clover has four standard controls and one rotary switch on the top. The Volume control allows you to set your volume at unity or as a boost to push your amp or dirt pedals. There are three EQ controls to give you tons of control to cut or boost Bass, Mids, and Treble. The rotary switch has three settings: Full EQ, No Mid, and No EQ. When set to Full EQ all three EQ controls are in operation, giving you full control over the full range of EQ available. The No Mid setting is an exact replica of the original FA-1, removing the ability to control the Mids and leaving them in a fixed setting. When in the No EQ mode all the EQ settings are removed and the Clover becomes a straight FET boost, perfect for pushing an amp. On the right side of the pedal there is a Low Cut dip switch. This removes some of the lows if you feel your tone is too muddy and can help you cut through a mix.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eXLR OUTPUT CAPABILITIES\u003c\/p\u003e\u003cp\u003eIn addition to the standard 1\/4” input and output, the Clover has an XLR output for using as an acoustic or bass preamp. These can be used individually or simultaneously if you want to go to a sound board or interface as well as an amplifier. The XLR output was designed with acoustic and bass players in mind as the Clover is a wonderful preamp that gives you a great amount of control over your sound. There is also a ground lift if you experience some hum when using the XLR output.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eEND ALL BE ALL\u003c\/p\u003e\u003cp\u003eThe Clover is an end all preamplifier \/ boost circuit for any electric, acoustic, or bass player. The EQ is simple, powerful and doesn’t allow a bad sound. No matter what style of music you play or amp that you use, the Clover will prove to be an indispensable tool.  While the Clover excels at being a preamp \/ boost for dirt pedals, the magic is in pushing your tube amplifier into natural overdrive. The EQ lets you hit the exact spot that your amp is naturally prone to give in at. Push your small wattage amp into natural rich overdrive and distortion or find sounds in your larger more powerful wattage amp that you have never heard before. Strat and Tele players can use the Clover to create extra punch, depth and dynamics that single coil pickups can’t normally achieve, while Les Paul and humbucker players can find clarity, bite and definition galore! From country, rock, metal and even acoustic… The Clover covers every base. Find your unforgettable tone with the luck of the Clover!\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eIN-DEPTH SPECS:\u003c\/p\u003e\u003cp\u003eThe XLR output is identical to the 1\/4” output.\u003cbr\u003eHas up to +24dB of gain (X16.4) (EQ Flat).\u003cbr\u003eTreble +\/- 15dB shelving filter at 10kHz\u003cbr\u003eMiddle +\/- 15dB peaking filter at 1.3kHz\u003cbr\u003eBass +\/- 15dB shelving filter at 270Hz (3dB freq)\u003cbr\u003eLo cut engaged -3dB point at 212Hz\u003cbr\u003eInput impedance \u0026gt;1M ohm\u003cbr\u003eOutput impedance = 520ohms\u003cbr\u003eCurrent draw at idle = 45.5mA\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385669854,"sku":null,"price":287.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-colour-box-v2","title":"JHS Colour Box V2","description":"\u003cp\u003eIn 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard-to-achieve sounds of \"direct-in\" electric guitar recordings that I loved.  Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.\u003c\/p\u003e\u003cp\u003eI wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.\u003c\/p\u003e\u003cp\u003eIn 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!\u003c\/p\u003e\u003cp\u003eOn its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo buses, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION 2 EMERGES\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi\/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics. \u003c\/p\u003e\u003cp\u003eThe most significant improvements are:\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003eAddition of an Output transformer\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eSafely Passes 48V Phantom Power\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eEQ Shift Knobs for precision EQ control\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eHi\/Lo Switch for ultra clean headroom\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e100% available clean signal even on acoustic guitar\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eSilent switching, aka no \"switch-pop\"\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003eRuns on standard 9V DC Neg power\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eFEATURES \u0026amp; CONTROLS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a \"drive\" or \"gain\" control, adding more grit, distortion, and even fuzz as you increase the gain.\u003c\/p\u003e\u003cp\u003eThe Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has a new Hi \/ Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.\u003c\/p\u003e\u003cp\u003eIn addition to the Hi \/ Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMOST POWERFUL EQ YET\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The classically labeled EQ knobs adjust the amount of frequencies that get boosted and cut, while the Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control.\u003c\/p\u003e\u003cp\u003eEQ Functions\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eTreble Knob\u003c\/strong\u003e - Cut\/Boost Control     +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eMiddle Knob \u003c\/strong\u003e- Cut\/Boost Control    +\/- 10dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eBass Knob\u003c\/strong\u003e -   Cut\/Boost Control   +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eFrequencies controlled by EQ Shift Knobs:\u003c\/p\u003e\u003cul\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eTreble Shift \u003c\/strong\u003e- 2kHz to 30kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eMiddle Shift \u003c\/strong\u003e- 150Hz to 2.4kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e \u003cli\u003e \u003cp\u003e\u003cstrong\u003eBass Shift \u003c\/strong\u003e- 20Hz to 440Hz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e \u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eThe \u003cstrong\u003eHi-Pass\u003c\/strong\u003e section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob. The HPF is a 2nd order 6dB per octave highpass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eXLR AND OUTPUT\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Colour Box V2 has a combination XLR and 1\/4\" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST\/XLR.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total.\u003c\/p\u003e\u003cp\u003eV2 = Larger enclosure; ten knobs total; added Hi\/Lo Toggle; passes phantom power. Output transformer addition.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385702622,"sku":null,"price":645.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-colour-box-10","title":"JHS Colour Box 10","description":"\u003cp\u003eIn 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard-to-achieve sounds of \"direct-in\" electric guitar recordings that I loved. Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.\u003c\/p\u003e\n\n\u003cp\u003eI wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.\u003c\/p\u003e\n\n\u003cp\u003eIn 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!\u003c\/p\u003e\n\n\u003cp\u003eOn its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo buses, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did.\u003c\/p\u003e \n\n\u003cp\u003eVERSION 2 EMERGES\u003cbr\u003e\nThe Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi\/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.\u003c\/p\u003e \n\n\u003cp\u003eThe most significant improvements are:\u003c\/p\u003e\n\n\u003cp\u003eAddition of an Output transformer\u003c\/p\u003e\n\n\u003cp\u003eSafely Passes 48V Phantom Power\u003c\/p\u003e\n\n\u003cp\u003eEQ Shift Knobs for precision EQ control\u003c\/p\u003e\n\n\u003cp\u003eHi\/Lo Switch for ultra clean headroom\u003c\/p\u003e\n\n\u003cp\u003e100% available clean signal even on acoustic guitar\u003c\/p\u003e\n\n\u003cp\u003eSilent switching, aka no \"switch-pop\"\u003c\/p\u003e\n\n\u003cp\u003eRuns on standard 9V DC Neg power\u003c\/p\u003e\n\n\u003cp\u003eFEATURES \u0026amp; CONTROLS\u003cbr\u003e\nThe Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a \"drive\" or \"gain\" control, adding more grit, distortion, and even fuzz as you increase the gain.\u003c\/p\u003e\n\n\u003cp\u003eThe Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.\u003c\/p\u003e\n\n\u003cp\u003eThe Colour Box V2 has a new Hi \/ Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.\u003c\/p\u003e\n\n\u003cp\u003eIn addition to the Hi \/ Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.\u003c\/p\u003e\n\n\u003cp\u003eMOST POWERFUL EQ YET\u003cbr\u003e\nThe EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The classically labeled EQ knobs adjust the amount of frequencies that get boosted and cut, while the Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control.\u003c\/p\u003e\n\n\u003cp\u003eEQ Functions\u003c\/p\u003e\n\n\u003cp\u003eTreble Knob - Cut\/Boost Control +\/-15dB flat at noon. CCW cuts, CW boosts.\u003c\/p\u003e\n\n\u003cp\u003eMiddle Knob - Cut\/Boost Control +\/- 10dB flat at noon. CCW cuts, CW boosts.\u003c\/p\u003e\n\n\u003cp\u003eBass Knob - Cut\/Boost Control +\/-15dB flat at noon. CCW cuts, CW boosts.\u003c\/p\u003e\n\n\u003cp\u003eFrequencies controlled by EQ Shift Knobs:\u003c\/p\u003e\n\n\u003cp\u003eTreble Shift - 2kHz to 30kHz – CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\n\u003cp\u003eMiddle Shift - 150Hz to 2.4kHz – CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\n\u003cp\u003eBass Shift - 20Hz to 440Hz – CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\n\u003cp\u003eThe Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob. The HPF is a 2nd order 12dB per octave high pass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz.\u003c\/p\u003e\n\n\u003cp\u003eXLR AND OUTPUT\u003cbr\u003e\nThe Colour Box V2 has a combination XLR and 1\/4\" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST\/XLR.\u003c\/p\u003e\n\n\u003cp\u003eVERSION HISTORY\u003cbr\u003e\nV1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total.\u003c\/p\u003e\n\n\u003cp\u003eV2 = Larger enclosure; ten knobs total; added Hi\/Lo Toggle; passes phantom power. Output transformer addition.\u003c\/p\u003e\n\n\n\n\u003cp\u003eTHE COLOUR BOX V2 RUNS ONLY ON STANDARD 9V DC NEGATIVE POWER (DO NOT PLUG IN ANYTHING GREATER THAN 9V) AND MEASURES 5.7” X 3.75” X 1.85\"\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385735390,"sku":null,"price":645.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-crayon","title":"JHS Crayon","description":"\u003cp\u003eLITTLE BROTHER TO THE COLOUR BOX\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eCONTROLS\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eFEATURES\u003c\/p\u003e\u003cp\u003e- Preamp DI tones from low gain grit to gated fuzz.\u003c\/p\u003e\u003cp\u003e- Active EQ for the perfect tones on bass or guitar.\u003c\/p\u003e\u003cp\u003e- Hi-Pass for lo-fi AM radio sounds.\u003c\/p\u003e\u003cp\u003e- Paint with all the colors of the wind.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eThe JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need!\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385800926,"sku":null,"price":287.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-cheese-ball","title":"JHS Cheese Ball","description":"\u003cp\u003eLong 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 Shields (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!\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385833694,"sku":null,"price":258.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-muffuletta","title":"JHS Muffuletta","description":"\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eFive tones inspired by these classic Big Muffs: \u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- JHS - \"2015\"\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- ‘73 RAMS HEAD - “1973-1977 V2”\u003c\/p\u003e\u003cp\u003eThe ‘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.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFamous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- THE TRIANGLE - “1969-1970 V1”\u003c\/p\u003e\u003cp\u003eThe Triangle Muff is so named for the triangle arrangement of the knobs. It boasts more low-end response while being more articulate.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFamous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- THE PI - “1977-1978 V3”\u003c\/p\u003e\u003cp\u003eAn 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.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFamous users: \u003c\/em\u003e \u003cem\u003eFrank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- THE RUSSIAN - \"1999-2009 V8”\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFamous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e- THE CIVIL WAR - “1991-1993 V7”\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eFamous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385899230,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-packrat","title":"JHS PackRat","description":"\u003cp\u003eThe 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.\u003cbr\u003e\u003cbr\u003eBuilding on JHS' 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).\u003cbr\u003e\u003cbr\u003eControls\u003cbr\u003eThe operation of the PackRat is about as simple as it gets. The \"Volume\" control adjusts the overall volume of the pedal. The \"Distortion\" control lets you raise and lower the amount of gain or distortion that the circuit produces, and the \"Filter\" control allows you to brighten and darken the sound of the overall effect. This is effectively a simple, low-pass filter. Lastly, \"Mode\" control. This is a stepped pot that clicks into place as you scroll through the nine legendary versions of this circuit. As you change the mode, the analog circuitry is rewired, resulting in brand new values of resistors, capacitors, diodes and op amps. \u003cbr\u003e\u003cbr\u003eThe PackRatModes\u003cbr\u003e1. The OG (1979-83)\u003cbr\u003eThe OG mode is a perfect recreation of the first production RATs ever made. This era of roughly four years covers what is referred to historically as the V1 and V2 models.\u003cbr\u003eWhen switching to the OG mode, you are activating the exact circuitry of a 1979 V1 model, including the accurate \"Tone\" control rotation and taper. The V1 and V2 models are the exact same circuit, and simple adjustments to the \"Tone\/Filter\" control can achieve identical sounds from each unit.\u003cbr\u003e\u003cbr\u003e2. White Face V3 (1984-1986)\u003cbr\u003eThe \"White Face\" model gained a reputation as one of the holy grail RATs, and it even spawned a reissue in the nineties. The irony is that it is the same exact circuit as the previous \"Big Box\" V2 and the following \"non-white logo\" 1986 V4, as well as the 1988 V5 \"LED Version.\" The \"White Face\" V3 update was purely cosmetic (some V2s and V3s share the exact same circuit board). ProCo knew that the world wanted smaller pedals in the wake of brands like BOSS, DOD and Ibanez gaining more and more market share, and they wisely cashed in on the trend.\u003cbr\u003e\u003cbr\u003e3. Turbo V6 (1989)\u003cbr\u003eThe heart of the RAT's tone comes from a design technique called \"Symmetrical Hard Clipping.\" In this approach, a simple amplifier circuit amplifies the guitar's signal and pushes it across a pair of clipping diodes. The result is that these diodes clip off the top of the waveform of the guitar and create a type of square wave distortion. Every RAT until 1989 utilized a typical silicon diode, just like the DOD 250 and BOSS DS-1, but the new Turbo RAT used LEDs (Light Emitting Diodes). \u003cbr\u003eThe Turbo's LEDs have a much higher forward voltage, so they don't activate or clip the signal as fast or as hard. It takes more signal to reach the point where they will \"cut off\" the waveform, which causes the phenomenon known as \"Touch Sensitivity.\" You can set the Distortion lower, and as you play lightly, you will have an overdrive tone; dig into your guitar and play hard, and hear more clipping\/distortion.\u003cbr\u003e\u003cbr\u003e4. BRAT (1997)\u003cbr\u003eThe BRAT added an input buffer circuit and soft clipping (inside the loop of the op amp) on top of the standard hard clipping of the previous RATs. A return to the opposite taper\/rotation \"Filter\" control and several capacitor value changes that alter the frequency response and characteristics of the distortion.\u003cbr\u003e\u003cbr\u003e5. Dirty (2004)\u003cbr\u003eThis pedal allowed you to have two completely separate RATs and activate them independently or stack them together. It also introduced two brand new sounds into the RAT topology: \"Clean RAT\" mode and \"Dirty RAT.\" Due to the popularity of the \"Dirty RAT\" mode, they released a single pedal called \"You Dirty RAT\" that featured that single setting in a standard sloped RAT enclosure. This circuit utilizes germanium diodes in the symmetrical hard clipping section of the circuit. This technique gives the most saturation and waveform clip-off of any version ever made.\u003cbr\u003eIn addition to the diode changes, this model has several different capacitor value changes resulting in a different distortion character and feel.\u003cbr\u003e\u003cbr\u003e6. LA (1986)\u003cbr\u003eIn 1986, Ibanez released the \"10 Series\" line of pedals that included three RAT style pedals. The \"Super Product\" and \"Fat Cat\" held the position of accurate and traditional RAT style pedals, while the quirkier \"LA Metal\" was one of the best-modified RAT circuits of the eighties. It includes a great input buffer, several key capacitor changes for frequency response, and no clipping diodes at all. The distortion is produced by overloading or \"clipping the rails\" of the op amp. \u003cbr\u003e\u003cbr\u003e7. Landgraff MO'D (1999)\u003cbr\u003eBetween 1999-2000, a man named John Landgraff started building pedals by hand in Pensacola, FL. Each one painted with a unique swirl paint job and wired point to point; John's pedals were and still are the true definition of boutique and gained a reputation for sounding amazing. His most popular pedal was the Landgraff Dynamic Overdrive, a take on the Ibanez Tubescreamer.\u003cbr\u003e\u003cbr\u003e8. Caroline (2010)\u003cbr\u003eBased on work in conjunction with Philippe Herndon, this mode was inspired by the Wave Cannon pedal that started the PackRat project.\u003cbr\u003e\u003cbr\u003e9. JHS Mode\u003cbr\u003eStarting as a modded vintage \"small-box\" RAT, parts of that modification became the now discontinued JHS All American and the long-running JHS PackRat modification that was performed on thousands of RAT pedals from 2008-2018. The JHS Mode lets you keep what makes the RAT unique and adds in a few personalized mods.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385931998,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-packrat-white","title":"JHS PackRat - White","description":"\u003cp\u003eThe 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.\u003cbr\u003e\u003cbr\u003eBuilding on JHS' 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).\u003cbr\u003e\u003cbr\u003eControls\u003cbr\u003eThe operation of the PackRat is about as simple as it gets. The \"Volume\" control adjusts the overall volume of the pedal. The \"Distortion\" control lets you raise and lower the amount of gain or distortion that the circuit produces, and the \"Filter\" control allows you to brighten and darken the sound of the overall effect. This is effectively a simple, low-pass filter. Lastly, \"Mode\" control. This is a stepped pot that clicks into place as you scroll through the nine legendary versions of this circuit. As you change the mode, the analog circuitry is rewired, resulting in brand new values of resistors, capacitors, diodes and op amps. \u003cbr\u003e\u003cbr\u003eThe PackRatModes\u003cbr\u003e1. The OG (1979-83)\u003cbr\u003eThe OG mode is a perfect recreation of the first production RATs ever made. This era of roughly four years covers what is referred to historically as the V1 and V2 models.\u003cbr\u003eWhen switching to the OG mode, you are activating the exact circuitry of a 1979 V1 model, including the accurate \"Tone\" control rotation and taper. The V1 and V2 models are the exact same circuit, and simple adjustments to the \"Tone\/Filter\" control can achieve identical sounds from each unit.\u003cbr\u003e\u003cbr\u003e2. White Face V3 (1984-1986)\u003cbr\u003eThe \"White Face\" model gained a reputation as one of the holy grail RATs, and it even spawned a reissue in the nineties. The irony is that it is the same exact circuit as the previous \"Big Box\" V2 and the following \"non-white logo\" 1986 V4, as well as the 1988 V5 \"LED Version.\" The \"White Face\" V3 update was purely cosmetic (some V2s and V3s share the exact same circuit board). ProCo knew that the world wanted smaller pedals in the wake of brands like BOSS, DOD and Ibanez gaining more and more market share, and they wisely cashed in on the trend.\u003cbr\u003e\u003cbr\u003e3. Turbo V6 (1989)\u003cbr\u003eThe heart of the RAT's tone comes from a design technique called \"Symmetrical Hard Clipping.\" In this approach, a simple amplifier circuit amplifies the guitar's signal and pushes it across a pair of clipping diodes. The result is that these diodes clip off the top of the waveform of the guitar and create a type of square wave distortion. Every RAT until 1989 utilized a typical silicon diode, just like the DOD 250 and BOSS DS-1, but the new Turbo RAT used LEDs (Light Emitting Diodes). \u003cbr\u003eThe Turbo's LEDs have a much higher forward voltage, so they don't activate or clip the signal as fast or as hard. It takes more signal to reach the point where they will \"cut off\" the waveform, which causes the phenomenon known as \"Touch Sensitivity.\" You can set the Distortion lower, and as you play lightly, you will have an overdrive tone; dig into your guitar and play hard, and hear more clipping\/distortion.\u003cbr\u003e\u003cbr\u003e4. BRAT (1997)\u003cbr\u003eThe BRAT added an input buffer circuit and soft clipping (inside the loop of the op amp) on top of the standard hard clipping of the previous RATs. A return to the opposite taper\/rotation \"Filter\" control and several capacitor value changes that alter the frequency response and characteristics of the distortion.\u003cbr\u003e\u003cbr\u003e5. Dirty (2004)\u003cbr\u003eThis pedal allowed you to have two completely separate RATs and activate them independently or stack them together. It also introduced two brand new sounds into the RAT topology: \"Clean RAT\" mode and \"Dirty RAT.\" Due to the popularity of the \"Dirty RAT\" mode, they released a single pedal called \"You Dirty RAT\" that featured that single setting in a standard sloped RAT enclosure. This circuit utilizes germanium diodes in the symmetrical hard clipping section of the circuit. This technique gives the most saturation and waveform clip-off of any version ever made.\u003cbr\u003eIn addition to the diode changes, this model has several different capacitor value changes resulting in a different distortion character and feel.\u003cbr\u003e\u003cbr\u003e6. LA (1986)\u003cbr\u003eIn 1986, Ibanez released the \"10 Series\" line of pedals that included three RAT style pedals. The \"Super Product\" and \"Fat Cat\" held the position of accurate and traditional RAT style pedals, while the quirkier \"LA Metal\" was one of the best-modified RAT circuits of the eighties. It includes a great input buffer, several key capacitor changes for frequency response, and no clipping diodes at all. The distortion is produced by overloading or \"clipping the rails\" of the op amp. \u003cbr\u003e\u003cbr\u003e7. Landgraff MO'D (1999)\u003cbr\u003eBetween 1999-2000, a man named John Landgraff started building pedals by hand in Pensacola, FL. Each one painted with a unique swirl paint job and wired point to point; John's pedals were and still are the true definition of boutique and gained a reputation for sounding amazing. His most popular pedal was the Landgraff Dynamic Overdrive, a take on the Ibanez Tubescreamer.\u003cbr\u003e\u003cbr\u003e8. Caroline (2010)\u003cbr\u003eBased on work in conjunction with Philippe Herndon, this mode was inspired by the Wave Cannon pedal that started the PackRat project.\u003cbr\u003e\u003cbr\u003e9. JHS Mode\u003cbr\u003eStarting as a modded vintage \"small-box\" RAT, parts of that modification became the now discontinued JHS All American and the long-running JHS PackRat modification that was performed on thousands of RAT pedals from 2008-2018. The JHS Mode lets you keep what makes the RAT unique and adds in a few personalized mods.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215385997534,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-kilt-v2","title":"JHS Kilt V2","description":"\u003cp\u003eWhen we got the opportunity to work with Stu G (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 the V2 has been honed into a compact and versatile tone-machine.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eEXPANDORA AT HEART\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe Kilt V2 has the same 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 feels even better than the original Expandora. Three toggles enhance the tweakability 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 from typical diode clipping selectors used in 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 in between.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTOGGLES FOR DAYS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e– When both toggles are down, you are in the lightest gain setting. Amp-like chimey breakup\u003c\/p\u003e\u003cp\u003e– G1 flipped up adds a touch of drive for more riffy grit\u003c\/p\u003e\u003cp\u003e– G2 flipped up puts you dangerously close to distortion, with more saturation and sustain for lead tones\u003c\/p\u003e\u003cp\u003e– Both toggles flipped up sends the Kilt V2 into almost uncontrollable gated fuzz\/distortion that will cut through anything\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Larger enclosure; two foot switches; independent boost on right side; four knobs\u003c\/p\u003e\u003cp\u003eand four toggles.\u003c\/p\u003e\u003cp\u003eV2 = Smaller enclosure; three knobs and three toggles; Red Remote system added.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386128606,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-charlie-brown-v4","title":"JHS Charlie Brown V4","description":"\u003cp\u003eEvery 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 classic Clapton, 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVINTAGE BRITISH CRUNCH FOR YOUR PEDALBOARD\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eMore 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.\u003c\/p\u003e\u003cp\u003e- Turns any amp into a gritty JTM45 stack\u003c\/p\u003e\u003cp\u003e- Go from sixties-style crunch to thick and liquid rock tones with a twist of the Drive knob\u003c\/p\u003e\u003cp\u003e- Drive and Volume control interact the same as a master volume amp head\u003c\/p\u003e\u003cp\u003e- Back off your guitar’s volume to control your gain levels without losing clarity\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMARSHALL-STYLE TONE STACK\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTo 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.\u003c\/p\u003e\u003cp\u003e- Fine-tune your tone with controls for Bass, Middle, and Treble\u003c\/p\u003e\u003cp\u003e- Active controls boost and cut their selected frequencies\u003c\/p\u003e\u003cp\u003e- Stacks beautifully with overdrive pedals for even more shades of grit\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e V1 = Larger enclosure; no Charlie icon.\u003c\/p\u003e\u003cp\u003e V2 = Changed to current enclosure size; diamond knob layout.\u003c\/p\u003e\u003cp\u003e V3 = Slightly different Drive Control and gain structure than V2.\u003c\/p\u003e\u003cp\u003e V4 = Color changed to yellow; added three-band tone stack; five controls total; U-shaped knob\u003c\/p\u003e\u003cp\u003elayout.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386161374,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-angry-charlie-v3","title":"JHS Angry Charlie V3","description":"\u003cp\u003eThe Angry Charlie has become a staple of the JHS line over the years, and it’s a force to be reckoned with in the high-gain pedal territory. Its ability to convincingly and accurately breathe JCM800 tones into any rig has made it a popular choice for guitarists of all genres. And unlike many other British amp-in-a-box pedals, the Angry Charlie V3 sports a 3-band tone stack, just like the Marshalls, helping nail those warm yet searing tones and boundless sustain. If you are a glutton for high-gain overdrive\/distortion that has a British flavor, the Angry Charlie V3 will change your life. Well, your gear life.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFURIOUS-SOUNDING AMP IN A BOX\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTurn the Drive control down, and you might be surprised how bluesy and vintage-like this pedal sounds. But through its different versions, our Angry Charlie distortion has always been one of the more aggressive British amp-in-a-box pedals out there. Either way, you’ll be injecting your amp with the grit and attitude of the UK amplifier heads that gave rock ‘n’ roll its teeth.\u003c\/p\u003e\u003cp\u003e- Turns any amp into a screaming Marshall stack\u003c\/p\u003e\u003cp\u003e- Go from bluesy Hendrix-like breakup to high-gain Brit tones with a twist of the Drive knob\u003c\/p\u003e\u003cp\u003e- Drive and Volume control interact the same as a master volume amp head\u003c\/p\u003e\u003cp\u003e- Back off your guitar’s volume to control your gain levels without losing clarity\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMARSHALL-STYLE TONE STACK\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eAfter a couple of extremely well-received versions of the Angry Charlie, we realized that to really nail the ultimate Marshall-style tone, we had to add Marshall-style control, so we gave you a finely tuned Marshall-style 3-band EQ. Enjoy!\u003c\/p\u003e\u003cp\u003e- Fine-tune your tone with controls for Bass, Middle, and Treble\u003c\/p\u003e\u003cp\u003e- Active controls boost and cut their selected frequencies\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e V1 = Larger enclosure and three controls; no Presence Control.\u003c\/p\u003e\u003cp\u003e V2 = Changed to current production size enclosure; diamond knob layout; Presence\u003c\/p\u003e\u003cp\u003eControl added.\u003c\/p\u003e\u003cp\u003e V3 = Color change to red; added three-band tone stack; five controls total; U-shaped knob \u003c\/p\u003e\u003cp\u003elayout.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386194142,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-moonshine-v2","title":"JHS Moonshine V2","description":"\u003cp\u003eAre 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCLEAN BLEND\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe 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!\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCHARGE PUMP\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eJust like our SuperBolt pedal, the Moonshine uses an internal 9V to 18V charge pump that allows it to run on normal 9V but converts it internally to 18V for an enormous amount of headroom, added low-end, and more overall punch.\u003c\/p\u003e\u003cp\u003eWe 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.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDUMBLE-ESQUE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eOn 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. It also kills on bass guitar, the reason it was originally designed.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = V-shaped knob layout; no Clean Blend Control.\u003c\/p\u003e\u003cp\u003eV2 = Square-shaped knob layout; added Clean Blend Control.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386292446,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-superbolt-v2","title":"JHS SuperBolt V2","description":"\u003cp\u003eWhen 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 sixties-era Supro amp-in-a-box tones that this pedal churns out. In designing the Superbolt, 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).\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVINTAGE AMP TONES WITH A TAP OF YOUR TOE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eIf 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 sixties 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.\u003c\/p\u003e\u003cp\u003e- Tones based on the clear and gritty tones of sixties Supro tube amps\u003c\/p\u003e\u003cp\u003e- Drive knob acts in a similar fashion to the volume controls on the old amplifiers\u003c\/p\u003e\u003cp\u003e- Tube rectifier-like sag increases as the Drive control is turned up\u003c\/p\u003e\u003cp\u003e- Tone control is usable throughout the whole range\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMORE VERSATILE THAN MEETS THE EYE\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eYes, 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.\u003c\/p\u003e\u003cp\u003e- Tone control takes you from warm and mellow to cutting and aggressive, without ever losing its musicality\u003c\/p\u003e\u003cp\u003e- Internally converts 9V to 18V for a huge amount of headroom and punchy output\u003c\/p\u003e\u003cp\u003e- Gain knob sweeps between darn-near-clean and amp in full-meltdown mode\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTWO FOOTSWITCHABLE GAIN LEVELS\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eBy 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.\u003c\/p\u003e\u003cp\u003e- Switch to a more powerful sound with enhanced low end and grit\u003c\/p\u003e\u003cp\u003e- Plug in your JHS Red Remote to switch between the two voices with a tap of your toe\u003c\/p\u003e\u003cp\u003e- Handy LED changes from blue to red, indicating the status of the boost circuit\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eV1 = Three controls; Hi\/Lo toggle; early stamped units may have a three-stage lighting bolt icon, but most have a four-stage bolt icon.\u003c\/p\u003e\u003cp\u003eV2 = Replaced Hi\/Lo toggle with a Gain Toggle; added Red Remote system.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386325214,"sku":null,"price":285.0,"currency_code":"CAD","in_stock":false}]},{"product_id":"jhs-at-andy-timmons-signature","title":"JHS AT+ Andy Timmons Signature","description":"\u003cp\u003eIn 2016 we brought you Andy Timmons’ artist signature pedal, the AT or @, and we're really proud to bring you the next iteration of this phenomenal stomp box: The AT+.\u003c\/p\u003e\u003cp\u003eThe JHS Pedals AT is Andy Timmons’ signature overdrive pedal that gives Andy his unmistakable lead and rhythm tone. Upon purchasing a JHS Angry Charlie in 2013, Andy began using it as his primary tone and soon after got in touch with Josh Scott about modifying it for his needs. By collaborating to tailor the pedal to Andy’s tastes, the “@“ was born and released in 2016. This pedal gives you all the soaring overdrive and distortion that you hear from Andy with plenty of options to craft your tone with your rig.  So pay ATtention and we’ll see what makes the AT rock.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDOES THE AT+ SOUND THE SAME AS THE ORIGINAL AT?\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eYes!  The drive channel of the AT+ is identical to our original AT pedal.  No changes were made whatsoever and the controls remain the same. They include Volume, EQ, Drive, Air, and a three-way toggle for 25-watt, 50-watt, or 100-watt modes. The Volume gives you plenty of headroom to play with, while the Drive control has a wide range from high gain blues to thunderous distortion. The tone controls work together to give you the ability to shape your tone and sit perfectly in a mix. The EQ works as a standard bright\/dark tone control, while the Air control rolls in top end like a presence control so you can have just the right amount of brightness for articulation and clarity. The three-way toggle gives you the feel of different amplifier wattages. The up position is the 25-watt setting with the most compression and saturation and the least amount of volume. The down position is the 50-watt setting for a good balance of compression and openness. The middle position is the 100-watt position for tons of volume and open crunch while being less focused.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTWO CHANNELS ARE BETTER THAN ONE!  \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eNew to the AT+ is an independent foot-switchable Boost, essentially creating a second channel and gain stage for the pedal. The boost side of the AT+ is a slightly dirty and overdriven pre-boost that allows you to hit the front end of the AT drive channel and achieve more saturation and definition for applications where you need more. Since the Boost is independent, it can be used alone to drive your amp or other drive pedals in conjunction with the AT+ drive channel.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386357982,"sku":null,"price":315.0,"currency_code":"CAD","in_stock":true}]},{"product_id":"jhs-bonsai","title":"JHS Bonsai","description":"\u003cp\u003eIn 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.\u003c\/p\u003e\u003cp\u003eFollowing 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.\u003c\/p\u003e\u003cp\u003eLETS TAKE A LOOK AT THE 9 MODES OF THE BONSAI BASED ON THE 9 PEDALS WE HAVE CHOSEN...\u003c\/p\u003e\u003cp\u003eOD-1 - 1977\u003c\/p\u003e\u003cp\u003eAn 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 asymmetrical clipping. The OD-1 is magical at boosting other drives or amps into singing saturation.\u003c\/p\u003e\u003cp\u003eTS-808 - 1979\u003c\/p\u003e\u003cp\u003eThe classic low gain with that signature pronounced mid range.\u003c\/p\u003e\u003cp\u003eTS-9 - 1982\u003c\/p\u003e\u003cp\u003eNearly identical to the TS-808 but with a slightly more pushed low-mid range.\u003c\/p\u003e\u003cp\u003eMSL, POWER OR L SERIES - 1985\u003c\/p\u003e\u003cp\u003eThough 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.\u003c\/p\u003e\u003cp\u003eTS-10 - 1986\u003c\/p\u003e\u003cp\u003eMade 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.\u003c\/p\u003e\u003cp\u003eEXAR OD-1 1989\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eTS-7 (+MODE) - 1999\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eKEELEY MOD PLUS - 2002\u003c\/p\u003e\u003cp\u003eRobert Keeley’s classic mod tightens up the tone on the original giving you smoother mid range and high frequencies, and increased bass response.\u003c\/p\u003e\u003cp\u003eJHS STRONG MOD - 2008\u003c\/p\u003e\u003cp\u003eOur own mod we’ve been doing since 2008 is much cleaner and overall more powerful. The mode has more pronounced higher and low end drop offs.\u003c\/p\u003e\u003cp\u003eWith 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.\u003c\/p\u003e","brand":"JHS","offers":[{"title":"Default Title","offer_id":48215386489054,"sku":null,"price":359.0,"currency_code":"CAD","in_stock":true}]}],"url":"https:\/\/www.gbmusicandsound.ca\/collections\/effects-pedals.oembed?page=6","provider":"GB Music \u0026 Sound","version":"1.0","type":"link"}