Pedals

Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them.  Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume.  Play whatever you like, you're the only one who can hear.  Or a buddy can plug into the additional Headphone output.  Headphone output is mono out. Two 1/4 Headphone Output jacks allow two users to simultaneously listen. 9VDC ***Not to be used as a normal amplifier pushing cabinets.  Outputs are only intended for Headphone use.***

After nearly six years of production, we have expanded our flagship pedal, the Black Fountain Oil Can Delay. The Black Fountain captures the sound of vintage oil can delay units, which processed the instrument signal through actual oil in order to create warm, modulated repeats unlike anything else. This previously rare and unwieldy sound is now available in the Black Fountain, which features three modes and ample control over the signal.  Black Fountain V3 features: Tap tempo: set your tempo on the fly with two taps of a footswitch, and subdivide that tempo into quarter, eighth, or triplet notes Hidden function: hold the Tap footswitch to momentarily maximize feedback, leading to a nearly sound-on-sound effect Expression control: use an expressional pedal to control Time, Feedback, or both simultaneously Expanded delay time: all the way down to around 30ms and up to around 1s Modern, Organ, and Vintage mode give three different takes on the voice of the delay, and Fluid, Mix, Time, and Feedback knobs give control over the elements Black Fountain art by Sam Larson https://www.samlarson.com/

It was the best of times, it was the worst of times. Back in the go-go ‘90s, a band of mad scientists emerged from a lab in the wilds of Iowa with a strange pedal that altered the very fabric of time and space. This pedal found its way into the hearts and minds of a select few - the dreamers and the music makers, the wild and free. But those pedals weren’t made to last. As the years have passed, their fragile circuitry has begun to fail, until one day they will be only a memory. Wise grandfathers will tell the children tales of the strange black pedal from the west, and that will be the end of the story. Or will it? Alexander Pedals designer Matthew Farrow decided to recreate the magic-using modern DSP technology and high-quality construction techniques. All the strange sounds of the original lurk within the Super Neo-Matic, along with some fun new surprises. The original pedals may be slowly fading, but your journey has just begun.

A laboratory in which to give full reign to your own creativity, as you experiment with the various “dimensions” of delay. This versatile delay is user-friendly and suitable for immediate use, but also ideal for users with a passion for sound research and experimentation, who will soon discover the unique moods which can be created by synchronizing the various controls. TimeLab is an analog/digital hybrid delay.  The dry signal and the repetition filter are controlled by the analog part of the circuit, while powerful, specially created digital algorithms are used to manage the repetitions, reproducing 4 original delay resonances, all of exceptionally high sound quality. Main features: a choice of 4 types of delay: Digital – Analog – Resonance – Modulation active analog filter, to give emphasis to the frequency response of the repetitions a selection of times, from 0 ms to 1000 ms Tap Tempo with subdivision between quarter, dotted eighth and eighth triplets control over delay time with soft pitch bending FILTER control: This is an active analog filter which allows you to give emphasis to the response frequency of the repetitions. It can be used with all types of delay to enrich the sound environment with unique and unusual colors. The control is flat in its central position. Moving it to the left allows you to add emphasis to the low frequency sounds by obscuring or muffling the repetitions, whereas moving it to the right will have the opposite effect, adding emphasis to the medium-high frequencies. Types of delay which can be selected with the TYPE control: DIGITAL: a transparent and well-defined delay. Used to create a sharp atmosphere and robotic effects. Time can be varied from 0 ms to 1000 ms. ANALOG: recreates the depth, warmth and nuance of the best analog delays. Soft and warm moods and deep, open distortions. Time can be varied from 0 ms to 1000 ms. RESONANCE: offers all the naturalness, depth and warmth of the analog delays, but with the addition of a resonance filter, which gives the sound a psychedelic touch, with a flavor of period synth. Time can be varied from 0 ms to 1000 ms. MOD: an analog delay which adds to the repetitions a multi-vocal choral effect, giving them range and depth. Useful for creating airy and ethereal effects. Time can be varied from 0 ms to 930 ms.

An extremely versatile, warm sounding transparentoverdrive. With its huge range of tonal frequencies and high sound definition the SmoG will make you notice every string’s twang and every note in your chord.Furthermore, the SmoG is highly touch sensitive and dynamicresponsive which makes the SmoG feel like an organic extension to your guitar.The SmoG has also been specifically designed to respond well to low frequencies, therefore it will work perfectly with bass guitars as well.As with most of our pedals, the SmoG comes with a 9V battery inside, ready to rock. Features: - Completely analog circuit - True bypass switch - Power supply: 9-18V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm

The Millibar is a studio-grade optical compressor, designed to achieve optimal compression control on both guitar and bass alike.Inspired by the performance of the Universal Audio 1176 and Teletronix LA2A, we have managed to recreate and implement their characteristics in the Millibar, in terms of both, transparent compression and "tone-full" qualities.Your instrument’s will sound full, rich with harmonics, sustain and without any loss of sound frequencies.The Millibar utilizes separate controls for compression and sustain, which allows the user to choose from a range of dynamic combinations, suitable for arpeggios, solos, grooves and many other styles and effects. In the MKII version we have added an attack control in order to give players maximum flexibility and control over  compression characteristics. Features:- Completely analog circuit- True bypass switch- Power supply: 9-18V/10 mA- Size (L x W x H): 9 cm x 11 cm x 6.6 cm

Hybrid fuzz/distortion pedal for guitars and bass guitars Versatility: A hybrid of germanium and silicon, combining the correct dynamics and well-defined granular effect typical of germanium with the grittiness and high sustain levels of silicon. An endless variety of resonances can be achieved by synchronizing choices of timbre with use of the filter and fuzzcontrols: from the resonances typical of valve distortions to the various fuzz timbres. Presence: Highly sought-after response frequency which, even in cases of extreme saturation, maintains a constant sound presence capable of holding its own in a mix with other instruments. Features: - Completely analog circuit - True bypass switch - Power supply: 9V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm

Dual-purpose pedal: buffer and boost. The buffer offers optimum transparency and will solve any problems of loss of signal caused by long effect chains. It can help you produce those harmonics you thought you had lost and which your audience will think highly of. The clear boost will give you the boost you need for your solo parts and is also useful for saturating your amplifier channels. With close attention to the musician’s needs and requirements, we have chosen a specific range of frequency responses for this product, from medium-low to medium-high frequencies. You can choose from the “Tone” control:  the 12-hour position corresponds to “Flat” frequency. Features: - Completely analog circuit - True bypass switch - Power supply: 9-12 V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm

Area - the art of reverberation.Area is an extremely versatile Multi Reverb with which you can obtain many reverberation environments. From short reverberations to huge spaces and celestial atmospheres, without clouding the Dry signal.Area is built on the base of powerful digital algorithms of our own creation, reproducing 4 different reverberation effects with an exceptional sound quality.The new Mastro Valvola Area MkII has all the same features of first Area multi reverb, with the addition of the innovative “Timed Bypass System”, designed by Mastro Valvola, to manage the reverb trails.When Trails mode is engaged and the effect is turned off, the pedal uses the “buffered bypass” and the reverb trails die of naturally. When the reverb trails are completely dead the pedal automatically changes the bypass system in true-bypass through the internal relay. Main features: 4 types of reverb: Reverb – Modulation – Shimmer 8th – Shimmer 8th + 5th 3 presets, easily managed with the preset button Damp control, to modify the emphasis on the reverberation frequencies dedicated Pre-Delay control, to easily modify the separation between the Dry and reverberated signal analogical Mix control, varying from 100% Dry to 100% Wet True-bypass with Timed Bypass System (TBS), to manage the reverb Trails completely analog Dry signal path Reverb types: REVERB: in this position, combining the Decay, Damp and Pre-Delay you will be able to obtain several kinds of reverberations: ROOM, PLATE, HALL. MOD: a double voice chorus modulation is added to the reverberation atmospheres, enriching the space of your environment. SHIM 8th: the tail of the reverberation is enriched by symphonic shimmers, tuned 2 octaves higher. SHIM 8th + 5th: the tail of the reverberation is enriched by symphonic shimmers, tuned on the higher octave and fifth.

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!

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.

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

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!

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.

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".