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Taming 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. **WARNING** ATTEMPTING 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.   CRANKED AMP TONE AT WHISPER VOLUME If 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. - Run it in your effects loop to turn down a turned-up amp- Retain the response and tone of your amp’s sweet spot at lower levels- High-grade components keep your tone clear and pure- Passive design doesn’t require any power   CONVENIENT LOW-PROFILE DESIGN A 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. - Small size is ideal for saving pedalboard space or even setting on top of your amp- Can easily be mounted underneath your board- Built rugged- Black powder coating keeps the buffer hidden in the background WE 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. THIS PEDAL DOES NOT REQUIRE POWER AND IT MEASURES 3.6"X1.5"X

The 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! FEATURES The 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. SPECS - Two fully independent effects in one small footprint.- Boost allows you to have an always-on preamp or send your amp into natural breakup.- Slap delay to give you just the right amount of echo to give your tone the cream on top.- Perfect for slide, country, rockabilly, and Americana.   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 27MA, AND MEASURES 2.6"X4.8"X1.6"

The 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 your Morning Glory. When you want to boost a crunchy tone into thicker sustain, use your Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use your Morning Glory. When you need to switch between two gain levels on the fly...you get the idea.   TRULY TRANSPARENT TONE The 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. Then you’ll understand. - Gain control sweeps from completely clean to rock ‘n’ roll- Tame high end on brighter rigs with the side-mounted bright-cut switch- Increased headroom and output for use as a full-frequency boost   ON-THE-FLY VERSATILITY An 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. - Switch to a more powerful sound with enhanced low end and grit- Plug in your JHS Red Remote for switching between the two voices with the tap of your toe- Handy LED changes from blue to red, indicating the status of the boost circuit   VERSION HISTORY: V1 = bigger white enclosure with black knobs; no bright-cut switch; no logo.V2 = changed to smaller current enclosure; gold powder coat color.V3 = bright-cut toggle added.V4 = 2x more headroom; Gain toggle added; Red Remote system added.   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 43MA, AND MEASURES 2.2"X4.8"X1.6".

The Big Muff fuzz has been around so long, been on so many classic recordings, and been through so many variations that every guitarist out there has a favorite version of its iconic tone. JHS wanted to pay tribute to that undeniably classic fuzz pedal, but we couldn’t come to a consensus about which Muff was king. With the Muffuletta, our indecision is your gain. We crammed five all-analog re-creations of the pedal’s most beloved tones into this box. We even threw in a JHS-exclusive tone that is our take on the historic stomp. No matter what Big Muff era you prefer, you can get ‘em all in the JHS Muffuletta fuzz pedal. Five tones inspired by these classic Big Muffs:    - JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful and less compressed, with a more haunting midrange. It is also the best for bass guitar.   - ‘73 RAMS HEAD - “1973-1977 V2” The ‘73 Rams Head gets its name for the strange little face that appears on the lower right corner of the original pedal. It is best known for having a scooped midrange, less gain, and being darker. Famous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)   - THE TRIANGLE - “1969-1970 V1” The Triangle Muff is so named for the triangle arrangement of the knobs. It boasts more low-end response while being more articulate. Famous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.   - THE PI - “1977-1978 V3” An instantly recognizable red Pi symbol gives this pedal its moniker. This is not to be confused with the later redesigned NYC version released in 2000. It features a more aggressive sound. Famous users:  Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).   - THE RUSSIAN - "1999-2009 V8” The Russian Muff is named by the “Made in Russia” text found on the back of the pedals. It sports less clarity and less low end than other models. A great garage-type sound. Famous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).   - THE CIVIL WAR - “1991-1993 V7” The old-style Civil War-era font and navy and gray colors found on these pedals’ enclosures dictate their name. They are best known for having more midrange and having a brighter overall tone with less gain. Famous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 4MA, AND MEASURES 2.2"X4.8"X1.6".    

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

JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.  This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels.   ALL THE MIDS CONTROL! A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination. The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice!  Just hit the footswitch!   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 67MA, AND MEASURES 2.2"X4.8"X1.6".

BUFFER / BOOSTER   The 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. The 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. - One knob that has plenty of tricks up its sleeve - Buffer/Enhancer for long cable runs or an always-on preamp - Booster for solos, saturating another overdrive or overdriving your amp   THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 7mA, AND MEASURES 3.6" x 1.5" x 1"

The Space Commander brings you the spacey sounds of vintage chorus and reverb with a powerful clean boost on board.  With simple controls and the ability to use each effect separately or engage all three effects with one stomp, you’ll find yourself fully in command of your spacial exploration like none other!  So let's suit up, grab your space blaster, and prepare for take-off.   The Space Commander is three-effects-in-one...with a one-knob control for each of the effects: Boost, Chorus, and Reverb.  Each effect is independently engaged by a toggle below the knob, and the pedal's master on/off is the footswitch. The "Boost" is a simple but powerful transistor boost that can be used to give your rig more volume or send your amp into natural breakup, perfect for tube amplifiers. The Chorus is a classic swirling 80s style chorus. When increasing the Chorus control the speed increases while the depth decreases, and when decreasing it the speed decreases and the depth increases. The Reverb is a hall reverb that is perfect for adding that 80s style decay to your sound. The Reverb knob controls your reverb mix, from fully dry to fully wet. All these combined will have you screaming “Friday, I’m in love” in no time.   - CLASSIC 80S STYLE EFFECTS - INDIVIDUAL BYPASS TOGGLES FOR EACH EFFECT. - SIMPLE CONTROLS FOR EASY TWEAKING OF YOUR SOUND. - MASTER BYPASS FOOTSWITCH SO YOU CAN ENGAGE ALL EFFECTS AT ONCE.   The Space Commander is your time machine to take you back to the wonder years of chorus and reverb!   SPECIAL THANKS TO ROBERT KEELEY FOR HIS EXPERTISE, ASSISTANCE, AND WIZARDRY ON THE DIGITAL PART OF THIS PEDAL! THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 84MA AND MEASURES 4.7"X3.7"X1.5”

5.68 X 3.62 X 2.0 INCHES, 0.85 LBS The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.  Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.  The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.  The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.  If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.  USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.  THE SUPREME DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

OVERDRIVE / DISTORTION      The Sweet Tea V3 is our "Everything Medium-to-High gain 2-in-1” and it covers all the bases from light breakup, blues, rock, heavy grind, and more. The Sweet Tea V3 is for anyone who wants a versatile overdrive/distortion that covers all the bases you need plus more. You’ll find medium-to-high gain tones and the ability to stack for the perfect face-melting sounds. MOONSHINE ON THE RIGHT The right side is our brand new Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created, housed in a little green enclosure. The Moonshine V2 has the classic mid-heavy tones that you’d expect but with more gain, volume, and tones available than you ever thought possible. The Moonshine V2 has the same core sound as the Moonshine Version 1 but we have added a new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal. ANGRY CHARLIE ON THE LEFT On the left side is our newest version of the Angry Charlie which is the Angry Charlie V3, one of our most popular pedals of the last few years. High gain JCM 800 type “Brown” sound tone that we believe is the most accurate Marshall tone ever put in a stompbox! It has Volume, Drive, and the full Bass, Mid, and Treble tone stack like you’d find on the amp. With the full tone stack and the amazingly accurate amp tones in this circuit, you’ll be begging for more! FEATURES The Sweet Tea V3 features our classic order switching toggle so that you can choose which circuit is first in the chain for the perfect stacking tones you’ve been searching for. - Even more overdrive and distortion tones - Fully independent Moonshine V2 and Angry Charlie V3 circuits - Order toggle to select the order of effects when stacking - Tons of control to dial in your perfect sound With these tones combined or used separately, the Sweet Tea V3 is a gallon-and-a-half of overdrive that goes down easy on a summer night! VERSION HISTORY V1 = Slightly different icon, no toggles. V2 =  Order Toggle and Gain Toggle added. V3 = Updated Moonshine V2 on the right and Angry Charlie V3 on the left. Top-mount jacks.   THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 51MA, AND MEASURES 4.7" X 3.7" X 1.66”

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

The DRIVE section gives you two styles of overdrive to choose from: Crunch or Lead.  The Crunch Style gives you a gritty British tube-amp combo sound.  The Lead Style gives you a warm and dark, mid-pushed overdrive.  The WET side of the pedal gives you Delays and Reverbs.  A Vintage/Modern Switch allows you to toggle between Spring & Plate reverb or Analog & Digital delay.  Use the built-in effects loop to insert effects between Drive and Wet, or run it by itself as the only pedal you’ll need!   DRIVE Channel – A pair of modified super-drives to choose from. Volume, Tone, and Drive for days! STYLE Switch – Tube-amp Crunch or Lead-channel Sustain WET Channel – three knob delay or reverb with Blend, Decay, and Time Delay/Reverb Switch – Center toggle, WET Mode Select Top-mounted jacks for effect pedal insert or split TRS Insert Switch – side mounted selector True-Bypass or Trails Switch – side mounted selector 9VDC, 100 mA, no battery option Designed and Made in the USA

The Keeley Delay Workstation is a powerful, dual DSP processor delay and reverb machine.  Combining Keeley’s unique delay and reverb patches in an incredibly small package, the Delay Workstation is an extremely creative tool. With the Delay Workstation you can combine vintage slapback and multi-head tape echoes with Spring or plate reverbs to create some instantly classic sound spaces.  You can set the Delay Workstation for warm sounding analog delays and then use the chamber or hall reverbs to create a huge warm and endless space.  Need rhythmic delays with some shimmer?  It’s here.  Always wanted to have the perfect ducking delay?  One that backs out of the way until your done with your notes, then the echoes fill in. “Ducking” is a very intelligent way for clearing the clutter in a sound that would normally be overrun with delays and echoes.   Wanna get twisted?  Try the Pitch delay into our Flanged Reverb. The Reverb side of the Delay Workstation contains all of the most common reverbs and some delays. The Morph control allows users to put creative twists on the reverb patches like spring tension, shimmer, and random flanging.  There are two delays included in the reverb bank.  You can use these to setup very cool ping-pong delays and many other creative rhythmic patterns. Two banks of eight legendary effects.  Super Fidelity.  Super Compact. The Delay Workstation has on-board tap tempo on the Delay side and external expression control on the Reverb side. Effects Include: Slapback w/reverb Tape Delay w/tone control Multi-Head Echo w/3 head control Analog Delay w/dynamic modulation Digital Delay w/inverse dynamic modulation Subdivided Delay w/dotted eighth, eighth, triplet, sixteenth Ducking w/compression ratio Pitch Shifting delay with w/octave up/down control Spring Reverb w/tension control Chamber Reverb w/filter control Hall Reverb w/tone control Plate Reverb w/tone control Shimmer w/octave up control Flanged Reverb w/vibrato or random modulation

The true-stereo K eeley ECCOS artfully combines a delay pedal and a looper. At the heart of the ECCOS is a neo-vintage delay with unprecedented control over tape-style echoes. Create long and majestic sounding tape flanged delay lines and then switch to the feature-packed Looper to record endless layers of sound! Dual stomp switches in delay mode are for true-bypass, tap-tempo and even endless feedback – but in looper mode they allow you to record, play, reverse, half-speed and even trigger a “play-once”. Live or as a studio workstation the delay and looper work together giving you endless room for creating and experimenting in a small footprint. With over four years of development on the Quad 24/56-bit Dream DSP, Keeley has reached the pinnacle of delay sound quality with the amazing new tones in the ECCOS.   The ECCOS now features Sound on Sound Mode! Sound on sound mode lets you record without erasing the original loop. The volume of the loops degrade over time, recreating a vintage reel to reel recording technique. To set the decay of the loops, hold down the FDBK knob and adjust the Depth control. This alt control comes in handy when using Sound on Sound Mode.   ECCOS is a True Stereo Delay and Looper Studio quality delay with tape flanged modulation Features include 3 memory presets, subdivisions, trails, runaway feedback Huge array of tone and time-based controls with the Alt Hold feature Full-featured Looper with reverse and half-speed loop effects 2 minutes of looping in mono, 60 seconds in stereo, Endless layers of recording! True-Bypass and Tap Tempo on-board or remotely with any style pedal-switcher Expression pedal assignment over any parameter and in any direction Pro Rig designed, remote control thru 1/4″ jacks for live use with pedal switcher systems 100% analog dry signal, audiophile designed input to output Stereo True-Bypass/Trails, switchable on the fly 9 Volt DC, 115mA low-current design Made in Edmond, USA     The ECCOS features advanced independent switching. The Delay or the Looper can be turned on and off independently. You can start the Looper without without a Delay Setting.

MINI  KATANA CLEAN BOOST!  Keeley’s oldest design made smaller and with tasteful updates including an additional feature.  The Katana started back in 2002 within the Time Machine Boost.  It was a dual class A JFET design that gave players and incredible boost and sounded so good they never turned off.  In fact they often ran two or three on stages like John Mayer!  The Mini Katana boost provides over 35dB of boost.  Enough for the most demanding players and sound reinforcement. New for the Mini Katana – 4 MODES! The new Mini Katana is now a 4 Mode Booster!  With the dual micro switches you have a total of four sounds possible.  Need drive, just flip the micro Hi-Gain Switch inside and you’ve got overdriven tone!  Flip the Hi-Cut Switch (NEW for the Katana Mini!) on the inside and you have a warmer tone to soften any Strat or Tele.  Flip both switches and you have the ultimate sounding boost, thick, creamy, tube-amp sounding, and plenty of volume on tap! Obsessed with cleanest, most enjoyable tone boosted? Well, Before other people started using Blue LED’s and non-diode clipping stages, there was the TMB and Katana…. Cascading FET stages do the tube-amp-thing like nothing else! Now made smaller, it will fit any board – any budget.  Enjoy a tasteful update to the pedal that redefined clean boost in the boutique era!