Pedals

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. In 1960, Leo Fender introduced a circuit in his Bandmaster and Vibrasonic amps called the “Harmonic Tremolo” (which proved to be a misnomer, since it was a volume effect, not a pitch effect). Essentially, the amp’s signal was split into high frequency and low frequency components, with the output switching back and forth between the two, resulting in a dreamy effect similar to the Uni-Vibe.  The 3 Series Harmonic Trem allows you to utilize Leo Fender’s revolutionary effect in a package much easier to tote than a vintage amplifier.  Toggle up is a great sounding amp trem, while toggle down is our take on harmonic trem effect. THE JHS PEDALS 3 SERIES HARMONIC TREM RUNS ON 9V DC NEGATIVE CENTER POWER AND CONSUMES 65 MA.  LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. In the early 1980s, Brian Eno invented an effect called “Shimmer,” which was popularized in U2’s The Unforgettable Fire (1984). The effect mixed ambient reverb and octave effects in the reverb’s decay.  The 3 Series Octave Reverb is our take on this classic effect that has been used for decades to allow the guitar to create pads and textures that fill out ambient space.  Toggle up layers in upper octave sounds, while toggle down layers in lower octave sounds. THE JHS PEDALS 3 SERIES OCTAVE REVERB RUNS ON 9V DC NEGATIVE CENTER POWER AND CONSUMES 65 MA. LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The JHS Pedals 3 Series Overdrive offers a wide range of overdrive sounds within straightforward design aesthetics. You can achieve anything from boost, transparent low gain, to huge amp-like medium overdrive sounds. The simple knob functions give you control over the Volume, Body (or EQ), and Drive. The Gain toggle gives you a choice between more saturated and compressed or more open and crunchy dynamics. This switch plays a big part in how the pedal responds to your playing and touch as a player. The JHS Pedals 3 Series Overdrive runs on 9V DC Negative Center power and consumes 12mA. LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. The 3-Series Phaser is a versatile and easy to use six-stage phaser pedal inspired by the classic phaser circuits of the 1970s. It has all the standard phase tones you would expect, but because of its unique Blend control and Feedback toggle, you can achieve an even wider range of modern and experimental tones. The JHS Pedals 3 Series Phaser runs on 9V DC Negative Center power and consumes 70mA. LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

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

The 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. FURIOUS-SOUNDING AMP IN A BOX Turn 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. - Turns any amp into a screaming Marshall stack - Go from bluesy Hendrix-like breakup to high-gain Brit tones with a twist of the Drive knob - Drive and Volume control interact the same as a master volume amp head - Back off your guitar’s volume to control your gain levels without losing clarity MARSHALL-STYLE TONE STACK After 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! - Fine-tune your tone with controls for Bass, Middle, and Treble - Active controls boost and cut their selected frequencies VERSION HISTORY:  V1 = Larger enclosure and three controls; no Presence Control.  V2 = Changed to current production size enclosure; diamond knob layout; Presence Control added.  V3 = Color change to red; added three-band tone stack; five controls total; U-shaped knob layout.   THIS PEDAL USES 9V TO 18V NEGATIVE CENTER. THIS PEDAL CAN BE RUN AT 18V FOR MORE HEADROOM AND GREATER DYNAMICS. DO NOT USE MORE THAN 18V DC. MEASURES AT 2.6" X 4.8" X 1.6".

In the late 1970's the overdrive pedal was arguably perfected when Japanese engineers designed the sound that we now know as the heart and soul of so many of our favorite artists, recordings and sounds. Players ranging from The Edge, Trey Anastasio, Buddy Guy, Kirk Hammett, John Mayer, SRV, Carlos Santana and thousands more from every possible genre have utilized and depended on this classic iconic green box. If a single effect pedal was chosen to board a Voyager 3 mission and be solely responsible for showing the universe the sound of overdrive, it would undoubtably be Tube Screamer. It is probably the most produced and sold pedal in the history of guitar pedals! The Bonsai is our tribute to one of the greatest pedals ever created. Following in the steps of our Muffuletta (released 2015), the Bonsai utilizes a simple rotary knob to switch through nine classic, vintage, rare, or hard to find variations of the Screamer. Creating the Bonsai became an archeological dig of sorts that sent us deep into the history of this circuit by examining dozens of versions, variations and replications. At the end of it all, Josh chose nine of his personal and favorite units and we painstakingly replicated every nuance and aspect of each pedal. One of the most challenging parts of this project was accounting for component drift as many of these pedals were decades old and the internal components had strayed from their original values. Each pedal was individually replicated using our Audio Precision analyzer and various other methods that allowed us to perfectly replicate every aspect of the sound and feel of the unit. It's important to know that the Bonsai is not a "box of mods," it is exact replications of these nine units all housed in one box! The Bonsai is exact replication, not emulation. When you choose a mode on the Bonsai rotary, you are actually activating components specific to each mode and playing the unit that Josh chose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has. The Bonsai Modes OD-1 - 1977 An overall brighter and slightly higher gain mode that does not utilize the Tone knob. This mode also inverts signal just like the original and has asymmetrical clipping. The OD-1 is magical at boosting other drives or amps into singing saturation. TS-808 - 1979 The classic low gain with that signature pronounced mid range. TS-9 - 1982 Nearly identical to the TS-808 but with a slightly more pushed low-mid range. MSL, POWER OR L SERIES - 1985 Though metal is in the name, this sound doesn’t quite inspire the modern metal djent we think of. Still it has a higher gain sound with a more low end and an overall more gooey feel. TS-10 - 1986 Made famous by John Mayer, this model is a slight upgrade from the TS9 for the late ’80s. Bluesy, crisp, more low end roll off and low gain. EXAR OD-1 1989 The EXAR is a Polish made TS-style pedal that has a slightly different drive character with a little more gain than the classic screamers as well as a slightly more transparent feel. TS-7 (+MODE) - 1999 The hot mode on this version gives you the highest gain sound in the Bonsai. More low end and dirt fill out the tone to have you shredding away. KEELEY MOD PLUS - 2002 Robert Keeley’s classic mod tightens up the tone on the original giving you smoother mid range and high frequencies, and increased bass response. JHS STRONG MOD - 2008 Our own mod we’ve been doing since 2008 is much cleaner and overall more powerful. The mode has more pronounced higher and low end drop offs. With the JHS Pedals’ Bonsai you can get the classic sounds of nine Tubescreamers in one pedal. Let the Bonsai help you find your overdrive zen.   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 20 MA, AND MEASURES 2.6"X4.8"X1.6". THE WORDS IBANEZ, BOSS, ROLAND, TUBESCREAMER, TS9, 808, EXAR, AND KEELEY, AUDIO PRECISION MAY BE REGISTERED TRADEMARKS. THE JHS PEDALS BONSAI IS IN NO WAY AFFILIATED OR ENDORSED BY IBANEZ, BOSS, ROLAND, TUBESCREAMER, TS9, 808, EXAR, KEELEY, AND AUDIO PRECISION.

Every guitarist loves the sound and feel of a Marshall JTM45 amp head. And with the JHS Pedals Charlie Brown V4 amp-in-a-box, you can put that same thick, chewy, old-school rock tone onto your pedalboard. In fact, we even outfitted the pedal with a Marshall-style 3-band tone stack to achieve a tone that would please Clapton himself. Whether you’re trying to replicate 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. VINTAGE BRITISH CRUNCH FOR YOUR PEDALBOARD More and more, guitarists like you are leaning on pedals to supply their overdriven tones. They need stompboxes that will completely change the character of their amplifiers on a dime. For vintage crunch and British attitude, there simply isn’t a better pedal than our Charlie Brown V4. - Turns any amp into a gritty JTM45 stack - Go from sixties-style crunch to thick and liquid rock tones with a twist of the Drive knob - Drive and Volume control interact the same as a master volume amp head - Back off your guitar’s volume to control your gain levels without losing clarity MARSHALL-STYLE TONE STACK To really nail the ultimate JTM45 tone, we added Marshall-style control to the Charlie Brown V4 overdrive. Now, not only will this pedal mate perfectly with your current clean amp tone, but you’ll be able to find the exact JTM45 sound you need for your application. And because the Charlie Brown reacts just like a classic tube amp, it’s even a perfect candidate for stacking with another overdrive. - Fine-tune your tone with controls for Bass, Middle, and Treble - Active controls boost and cut their selected frequencies - Stacks beautifully with overdrive pedals for even more shades of grit VERSION HISTORY  V1 = Larger enclosure; no Charlie icon.  V2 = Changed to current enclosure size; diamond knob layout.  V3 = Slightly different Drive Control and gain structure than V2.  V4 = Color changed to yellow; added three-band tone stack; five controls total; U-shaped knob layout.   THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 9MA, AND MEASURES 2.6" X 4.8" X 1.6"

Long ago in a mysterious time that we call the 1990's, a new pedal company was created in England. Its ideas were off the beaten path, and its sounds were otherworldly. Despite existing only a few short years, these creations became the things of legend and one product in particular cast the biggest shadow. With such artists as The Edge (U2), Jimmy Page, Radiohead, Kevin 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! The Cheese Ball has your standard Volume, Gain, and Tone knobs found on most distortion fuzz boxes, but comes with an extra mode selector knob that gives you four different overall tone and gain selections.  In the “off” position, the Tone knob is disengaged, giving you a bright and trashy fuzz/distortion sound. In the “1” position you have a mid-scooped sound that will give you a Big Muff style buzz for a rounded sound reminiscent of fine mozzarella that sits just right on your pizza but doesn’t get in the way. The “2” position is a mid-boost sound that will cut through a mix like a hot knife through Velveeta. Finally, the “3” position gives you a biting, gated fuzz tone that, when cranked, spits, spats, and bites like gorgonzola naturale. The JHS Cheese Ball is our homage to one of the most excellent fuzz/distortion pedals ever created. Rediscover the finest aged cheese in the pedal world.

Poolside conversations while staring at your own reflection. The depths of which shall never be known, at least not for another couple thousand years. So it goes. Before the reflection, is the experience. Before phenomena, or even noumena, is that which is undefinable. That which has never been heard, that which will never be heard again and that which has always been heard but never listened to. K-field (Simulation mathematics), an  undefined, two-dimensional, non-linear field where past and future forces interact at irregular intervals. Shallow Water generates this k-field by randomly modulating a short time delay to create unexpected shifts in pitch. The result is this non cyclical vibrato/chorus/flanger-type thing favouring old tape flavours. The water is shallow on this side of the pool. Do not dive and you will not drown.

The Dude Incredible is a pairing of two cult classics: the IVP “Tube Voice” preamp and a percolator-style fuzz. Together, these two circuits have produced some of the most iconic guitar sounds in noise rock: jangly rhythm tones, ear-piercing treble chords, and endless walls of howling feedback. Originally released in 2017, the Dude Incredible was the first adaptation of the IVP into a pedal format. Now, it returns with some extra features and modern reliability improvements. The Tube Voice channel is our streamlined version of the Intersound IVP (aka Instrument Voicing Preamp), a nearly-forgotten rackmount preamp from the 1970s. The transformer-loaded overdrive circuit is driven by a pre-gain shelving EQ for a distinctive palette of frequency-selective distorted sounds. Far from just a clang machine, this channel is fantastic for medium gain tones or as an always-on base layer. (This channel can also be found as a standalone unit in our Surveyor pedal.) The Percolate channel needs no introduction. Our take on this beloved two-transistor fuzz features a painstakingly selected germanium transistor based on measurements of an original unit. We also added a diode switch to select between our custom configuration found in the Dude Incredible V1 and a more traditional highly compressed mode. Combining the Percolate side with the Tube Voice side produces a devastatingly destroyed fuzz. Even if you aren’t a metal-pick-wielding treble fiend, the Dude Incredible is a source of unique distortion sounds that can’t be found anywhere else. Electrical Specifications Bypass Switching: Independent fuzz and preamp circuits with relay-based true bypass switching which defaults to bypass in the event of power loss. Input impedance @ 1kHz: 100kΩ (perc) / 500kΩ (tube voice) Output impedance @ 1kHz: <25kΩ (perc), <5kΩ (tube voice) Power: 9VDC, 2.1mm center negative barrel. The current draw is 90mA with both channels engaged. We recommend a regulated, isolated power supply rated for 100mA. Dude Incredible does not accept a battery. The power input is protected from reverse polarity and over-voltage conditions up to 24V. Controls Harm: Input gain for the Percolate channel. Balance: Output level for the Percolate channel. Gain: Tube Voice gain control; highly interactive with the Bass and Treble settings. Level: Output level control, turn clockwise for more volume.    Treble: Tube Voice high shelf boost/cut, +/-12dB @ 3kHz located pre-Gain. Bass: Tube Voice low shelf boost/cut, +/-12dB @ 100Hz located pre-Gain. Diode (toggle): changes the clipping configuration of the Percolate channel. Up for less compression, down for more. Hi/Lo (toggle): changes the gain range of the Tube Voice channel. In the Lo setting the gain range is -15dB to +12dB, in the Hi setting the gain range is +9dB to +36dB. Right footswitch: Engages the Percolate circuit Left footswitch: Engages the Tube Voice circuit

The Model feT is a transistor-based preamplifier designed around the legendary Sunn Model T amplifier. Those who have played the original know that while it excels at heavy tones when pushed, it is far more than just an amp for stoner rock and doom metal. In fact, on its own it is a fantastic mid-gain amplifier with a tone that is dark, yet clear and present—making it an exceptional pedal platform. Most famous Model T tones come from putting a distortion or fuzz in front of the amp. Thus, the Model feT is designed to sound good on its own and with other pedals stacked in front. This pedal goes beyond the standard triode-to-JFET emulation approach with the inclusion of an emulated power amp. This broadens the range of gain and—in the true spirit of the original amp—allows for massive headroom and volume output. This greatly expands its capabilities beyond a typical drive pedal: the Model feT can be used directly into a power amp, cab simulation, or DAW.

The Electronic Audio Experiments Longsword is yet another contender in the endless void of op-amp based drive pedals—familiar but with some novel twists. Cascaded gain stages allow for the full range from clean boost to massive distortion, all without sacrificing tonal flexibility. The equalizer combines bass and treble shelving filters with an active, frequency-selectable midrange boost/cut control. This lets the user sculpt a diverse array of tones and carve out a niche in even the most dense of mixes. The Longsword has a broad frequency response which makes it work equally well with guitar, baritone, and bass.

Limelight is a dual channel overdrive developed in collaboration with LA-based punk band Touche Amore. The distinctive bright, clear tones of guitarists Nick Steinhardt and Clayton Stevens form the foundation of TA’s impassioned brand of post-hardcore, letting their riffs morph effortlessly between serene clean passages and cacophonous blast beats. This pedal was originally developed to commemorate the release of their 2020 LP, Lament, but since earned its place in a wide variety of guitar rigs spanning genres. In preparation for the recording of Lament, we worked with Nick and Clayton to create a new op amp overdrive with equal parts aggression and chime. While loosely based in the “breaker” lineage, we made significant changes to the circuit for superior articulation and a much wider range of gain. An independent front-end boost rounds out the package, perfect for adding power to clean tones or pushing the overdrive side into heavy distortion. While the primary goal was to help the band sound like their best selves, Limelight has a tone for everyone.