{"title":"JHS In Stock","description":"","products":[{"product_id":"jhs-pedals-angry-charlie-v3-overdrive-15969","title":"JHS Pedals - Angry Charlie V3 Overdrive","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.\n\u003cbr\u003eFurious-sounding amp in a box\n\u003cbr\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. \n\u003cbr\u003e- Turns any amp into a screaming Marshall stack \n\u003cbr\u003e- Go from bluesy Hendrix-like breakup to high-gain Brit tones with a twist of the Drive knob \n\u003cbr\u003e- Drive and Volume control interact the same as a master volume amp head \n\u003cbr\u003e- Back off your guitar’s volume to control your gain levels without losing clarity\n\u003cbr\u003eMarshall-style tone stack\n\u003cbr\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! \n\u003cbr\u003e- Fine-tune your tone with controls for Bass, Middle, and Treble \n\u003cbr\u003e- Active controls boost and cut their selected frequencies\n\u003cbr\u003eVERSION HISTORY:\n\u003cbr\u003eV1 = larger enclosure and 3 controls, no presence control \n\u003cbr\u003eV2 = changed to current production size enclosure and look. presence control added. \n\u003cbr\u003eV3 = color changed to red, added 3 band tone stack, 5 controls total\n\u003cbr\u003eThis 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\"x4.8\"x1.6\".\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130056778,"sku":"15969","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15969.jpg?v=1766646384"},{"product_id":"jhs-pedals-at-andy-timmons-signature-overdrive-15958","title":"JHS Pedals - AT+ Andy Timmons Signature Overdrive","description":"\u003cp\u003eIn 2016 we brought you the AT, Andy Timmons artist signature pedal and we're really proud to bring you the next iteration of this phenomenal stomp box, The AT+.\n\u003cbr\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. Through going back and forth and tailoring it to Andy’s tastes, the “@“ was born and eventually released into production 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.\n\u003cbr\u003eDoes the AT+ sound the same as the original AT?\n\u003cbr\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 wattage amplifiers. The up position is the 25-watt setting with the most compression and saturation with 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.\n\u003cbr\u003eTwo channels are better than one!\n\u003cbr\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.\n\u003cbr\u003eThis pedal requires standard 9V DC Negative power, consumes 15 mA, and measures 2.2\"x4.8\"x1.6\".\n\u003cbr\u003eYou can safely run “The AT“ at 18 or 9 volts\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130089546,"sku":"15958","price":315.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15958-1709733690.jpg?v=1766646377"},{"product_id":"jhs-pedals-charlie-brown-v4-overdrive-15971","title":"JHS Pedals - Charlie Brown V4 Overdrive","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 the Woman Tone, 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.\n\u003cbr\u003eVintage British crunch for your pedalboard\n\u003cbr\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.\n\u003cbr\u003e- Turns any amp into a gritty JTM45 stack \n\u003cbr\u003e- Go from ‘60s-style crunch to thick and liquid rock tones with a twist of the Drive knob \n\u003cbr\u003e- Drive and Volume control interact the same as a master volume amp head \n\u003cbr\u003e- Back off your guitar’s volume to control your gain levels without losing clarity\n\u003cbr\u003eMarshall-style tone stack\n\u003cbr\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.\n\u003cbr\u003e- Fine-tune your tone with controls for Bass, Middle, and Treble \n\u003cbr\u003e- Active controls boost and cut their selected frequencies \n\u003cbr\u003e- Stacks beautifully with overdrive pedals for even more shades of grit\n\u003cbr\u003eVERSION HISTORY\n\u003cbr\u003eV1 = larger enclosure. no charlie icon. \n\u003cbr\u003eV2 = changed to current size enclosure and look. \n\u003cbr\u003eV3 = slightly different drive control and gain structure than V2 \n\u003cbr\u003eV4 = color changed to yellow, added 3 band tone stack, 5 controls total\n\u003cbr\u003eThis pedal requires standard 9V DC Negative power, consumes 9mA, and measures 2.6\"x4.8\"x1.6\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130318922,"sku":"15971","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15971.jpg?v=1766646369"},{"product_id":"jhs-pedals-clover-preamp-eq-15990","title":"JHS Pedals - Clover Preamp \/ Eq","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!\n\u003cbr\u003eCONTROLS\n\u003cbr\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.\n\u003cbr\u003eXLR OUTPUT CAPABILITIES\n\u003cbr\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.\n\u003cbr\u003eEND ALL BE ALL\n\u003cbr\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!\n\u003cbr\u003eIn-depth Specs:\n\u003cbr\u003eThe XLR output is identical to the 1\/4” output. \n\u003cbr\u003eHas up to +24dB of gain (X16.4) (EQ Flat). \n\u003cbr\u003eTreble +\/- 15dB shelving filter at 10kHz \n\u003cbr\u003eMiddle +\/- 15dB peaking filter at 1.3kHz \n\u003cbr\u003eBass +\/- 15dB shelving filter at 270Hz (3dB freq) \n\u003cbr\u003eLo cut engaged -3dB point at 212Hz \n\u003cbr\u003eInput impedance \u0026gt;1M ohm \n\u003cbr\u003eOutput impedance = 520ohms \n\u003cbr\u003eCurrent draw at idle = 45.5mA\n\u003cbr\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 45.5MA, AND MEASURES 2.6\"X4.8\"X1.6\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130384458,"sku":"15990","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15990.jpg?v=1766646360"},{"product_id":"jhs-pedals-colour-box-v2-preamp-eq-overdrive-distortion-fuzz-di-box-15989","title":"JHS Pedals - Colour Box V2 Preamp \/ Eq \/ Overdrive \/ Distortion \/ Fuzz \/ Di Box","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.\n\u003cbr\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.\n\u003cbr\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!\n\u003cbr\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 bus's, 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, to War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott\n\u003cbr\u003eversion 2 emerges\n\u003cbr\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.\n\u003cbr\u003eThe most significant improvements are:\n\u003cbr\u003eAddition of an Output transformer\n\u003cbr\u003eSafely Passes 48v Phantom Power\n\u003cbr\u003eEQ Shift Knobs for precision EQ control\n\u003cbr\u003eHi\/Lo Switch for ultra clean headroom\n\u003cbr\u003e100% available clean signal even on acoustic guitar\n\u003cbr\u003eSilent switching, aka no \"switch-pop\"\n\u003cbr\u003eRuns on standard 9V DC Neg power\n\u003cbr\u003efeatures \u0026amp; controls\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\u003eMOST POWERFUL EQ YET\n\u003cbr\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.\n\u003cbr\u003eEQ Functions\n\u003cbr\u003eTreble Knob - Cut\/Boost Control +\/-15dB flat at noon. CCW cuts, CW boosts.\n\u003cbr\u003eMiddle Knob - Cut\/Boost Control +\/- 10dB flat at noon. CCW cuts, CW boosts.\n\u003cbr\u003eBass Knob - Cut\/Boost Control +\/-15dB flat at noon. CCW cuts, CW boosts.\n\u003cbr\u003eFrequencies controlled by EQ Shift Knobs:\n\u003cbr\u003eTreble Shift - 2kHz to 30kHz – CCW lowers the center Freq, CW raises the center Freq.\n\u003cbr\u003eMiddle Shift - 150Hz to 2.4kHz – CCW lowers the center Freq, CW raises the center Freq.\n\u003cbr\u003eBass Shift - 20Hz to 440Hz – CCW lowers the center Freq, CW raises the center Freq.\n\u003cbr\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 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.\n\u003cbr\u003eXLR AND OUTPUT\n\u003cbr\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.\n\u003cbr\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 Pedals","offers":[{"title":"Default Title","offer_id":40979130417226,"sku":"15989","price":645.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15989.jpg?v=1766646356"},{"product_id":"jhs-pedals-haunting-mids-preamp-eq-15991","title":"JHS Pedals - Haunting Mids Preamp \/ Eq","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.\n\u003cbr\u003econtrols \u0026amp; features\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\u003e– Simple yet effective tool to boost\/cut the perfect amount of midrange frequencies. \n\u003cbr\u003e– Sweepable midrange frequency to find the perfect EQ to slice through any mix. \n\u003cbr\u003e– Turn any amp or pedal into a totally different ghastly monster. \n\u003cbr\u003e– Don’t forget the Volume BOOOOOOst.\n\u003cbr\u003eSo go and wake the undead with the ghostly sounds of the Haunting Mids!\n\u003cbr\u003eSPECS\n\u003cbr\u003e- Will boost +10dB with EQ flat \n\u003cbr\u003e- Total Harmonic Distortion 0.007% \n\u003cbr\u003e- Signal to noise ration 83dB \n\u003cbr\u003e- +\/- 15dB boost or cut \n\u003cbr\u003e- Sweepable center frequency from 400Hz to 7.5kHz \n\u003cbr\u003e- Switchable Q (LO-gentle broad, HI-peaking tight)\n\u003cbr\u003eThis pedal requires standard 9V DC Negative power, consumes 13mA, and measures 2.6\"x4.8\"x1.6\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130581066,"sku":"15991","price":215.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15991.jpg?v=1766646342"},{"product_id":"jhs-pedals-kodiak-tremolo-16010","title":"JHS Pedals - Kodiak Tremolo","description":"\u003cp\u003eThe JHS Pedals Kodiak tremolo is the newest addition to our tap-tempo series featuring all the bells-and-whistles you need to create the biggest tremolo growl you’ve ever heard! Based around classic Vox and Black Face tremolo sounds, the Kodiak brings vintage tremolo into the modern era with four different wave patterns, Mix, onboard tap-tempo, and sub-divisions to give you total control as well as plenty of inspiration to bring your sound out of hibernation. Let’s take a look at all the features this brown beast bears...\n\u003cbr\u003econtrols \u0026amp; features\n\u003cbr\u003eThe Kodiak has five simple controls: Volume, Speed, Mix, Ratio, and Wave. The Volume control enables you to set the overall volume however you like it, either dialed back, at unity, or boosted. A great feature of the Kodiak is that you can turn the Mix knob all the way down and use the Volume to boost your amp or other pedals, acting as a preamp or slightly driven boost. The Speed knob is a manual control for the speed of the tremolo, which you can also set with the on-board tap-tempo switch. The Mix knob controls how deep the tremolo is perceived, from fully clean to fully wet. The Ratio control gives you the ability to dial in faster speeds that are perfectly sync'd with the BPM of your tap. You can choose from quarter notes, eighth notes, \"triplets,\" or sixteenth notes. The Wave control gives you four different wave variations to choose from: Sine, Rhythmic, Square, and Ramp. The Sine wave is a classic amp-like tremolo sound, the Rhythmic wave gives you an interesting rhythmic pattern that can be used in many different time-signatures for different effect, the Square wave gives you a more choppy trem sound, and the Ramp wave gives you a warbly type of sound. With all these options, sit down, grab a jar of honey, and spend lots of time with your new bear-friend to really get to know what he has to offer.\n\u003cbr\u003eTAP \/ EXPRESSION jack\n\u003cbr\u003eThe Kodiak also features a Tap\/Expression jack on the right side of the pedal. Plug in an external tap tempo or an expression pedal to control the speed of the tremolo. Select either TAP or EXP via the switch on the left side of the Kodiak.\n\u003cbr\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 10MA, AND MEASURES 2.6\"X4.8\"X1.6\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130613834,"sku":"16010","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/16010.jpg?v=1766646339"},{"product_id":"jhs-pedals-moonshine-v2-overdrive-15974","title":"JHS Pedals - Moonshine V2 Overdrive","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.\n\u003cbr\u003eCLEAN BLEND\n\u003cbr\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!\n\u003cbr\u003econtrols\n\u003cbr\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.\n\u003cbr\u003eCHARGE PUMP\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\u003eDUMBLE-ESQUE\n\u003cbr\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. Last but not least, it kills on bass guitar, the reason it was originally designed.\n\u003cbr\u003eThis pedal requires standard 9V DC Negative power, consumes 30mA, and measures 2.2\"x4.8\"x1.6\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130712138,"sku":"15974","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15974.jpg?v=1766646331"},{"product_id":"jhs-pedals-red-remote-utility-16034","title":"JHS Pedals - Red Remote Utility","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:\n\u003cbr\u003eMorning Glory V4\n\u003cbr\u003eSuperBolt V2\n\u003cbr\u003eTwin Twelve V2\n\u003cbr\u003eDouble Barrel V4\n\u003cbr\u003eKILT V2\n\u003cbr\u003eSwitchBack\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\u003eNOTE: You can use any latching amp style footswitch or build your own too!\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979130908746,"sku":"16034","price":65.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/16034.jpg?v=1766646310"},{"product_id":"jhs-pedals-bonsai-overdrive-15964","title":"JHS Pedals - Bonsai Overdrive","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.\n\u003cbr\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.\n\u003cbr\u003eLets take a look at the 9 modes of the Bonsai based on the 9 pedals we have chosen...\n\u003cbr\u003eOD-1 - 1977\n\u003cbr\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.\n\u003cbr\u003eTS-808 - 1979\n\u003cbr\u003eThe classic low gain with that signature pronounced mid range.\n\u003cbr\u003eTS-9 - 1982\n\u003cbr\u003eNearly identical to the TS-808 but with a slightly more pushed low-mid range.\n\u003cbr\u003eMSL, Power or L Series - 1985\n\u003cbr\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.\n\u003cbr\u003eTS-10 - 1986\n\u003cbr\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.\n\u003cbr\u003eExar OD-1 1989\n\u003cbr\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.\n\u003cbr\u003eTS-7 (+mode) - 1999\n\u003cbr\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.\n\u003cbr\u003eKeeley Mod Plus - 2002\n\u003cbr\u003eRobert Keeley’s classic mod tightens up the tone on the original giving you smoother mid range and high frequencies, and increased bass response.\n\u003cbr\u003eJHS Strong Mod - 2008\n\u003cbr\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.\n\u003cbr\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.\n\u003cbr\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 20 MA, AND MEASURES 2.6\"X4.8\"X1.6\".\n\u003cbr\u003eTHE 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.\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979131105354,"sku":"15964","price":359.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15964.jpg?v=1766646292"},{"product_id":"jhs-pedals-milkman-slap-echo-delay-16002","title":"JHS Pedals - Milkman Slap Echo \/ Delay","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!\n\u003cbr\u003efeatures\n\u003cbr\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.\n\u003cbr\u003especs\n\u003cbr\u003e- Two fully independent effects in one small footprint. \n\u003cbr\u003e- Boost allows you to have an always-on preamp or send your amp into natural breakup. \n\u003cbr\u003e- Slap delay to give you just the right amount of echo to give your tone the cream on top. \n\u003cbr\u003e- Perfect for slide, country, rockabilly, and Americana.\n\u003cbr\u003eThis pedal requires standard 9V DC Negative power, consumes 27mA, and measures 2.6\"x4.8\"x1.6\".\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979131170890,"sku":"16002","price":259.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/16002.jpg?v=1766646287"},{"product_id":"jhs-pedals-muffuletta-army-green-distortion-fuzz-18563","title":"JHS Pedals - Muffuletta Army Green Distortion \/ Fuzz","description":"\u003cp\u003eArmy Green Muffuletta will replace the Black\/Yellow Muffuletta.  Same pedal, Same price, just with a new colorway! \u003c\/p\u003e\n\n\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\n\n\u003cp\u003eFive tones inspired by these classic Big Muffs: \u003c\/p\u003e\n\n\u003cp\u003e- JHS - \"2015\"\n\u003cbr\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\n\n\u003cp\u003e- ‘73 RAMS HEAD - “1973-1977 V2”\n\u003cbr\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\n\n\u003cp\u003eFamous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)\u003c\/p\u003e\n\n\u003cp\u003e- THE TRIANGLE - “1969-1970 V1”\n\u003cbr\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\n\n\u003cp\u003eFamous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.\u003c\/p\u003e\n\n\u003cp\u003e- THE PI - “1977-1978 V3”\n\u003cbr\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\n\n\u003cp\u003eFamous users:  Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).\u003c\/p\u003e\n\n\u003cp\u003e- THE RUSSIAN - \"1999-2009 V8”\n\u003cbr\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\n\n\u003cp\u003eFamous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).\u003c\/p\u003e\n\n\u003cp\u003e- THE CIVIL WAR - “1991-1993 V7”\n\u003cbr\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\n\n\u003cp\u003eFamous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).\u003c\/p\u003e\n\n\u003cp\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 4MA, AND MEASURES 2.2\"X4.8\"X1.6\".\n\u003cbr\u003e\"I want to give a massive thank you to my good friend Jon Cusack and Cusack Music for helping this hefty idea be fully realized. Jon you are a wizard of circuitry and a deep well of design knowledge to the things that are over my head – Josh\"\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979254935626,"sku":"18563","price":359.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/18563-1635434297.jpg?v=1766639912"},{"product_id":"jhs-mini-a-b-switching-utility-16029","title":"JHS Pedals - Mini A\/B Switching Utility","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.\n\u003cbr\u003eThe do-it-all switch\u003c\/p\u003e\n\n\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\n\n\u003cp\u003e- Instantly swap between two instruments\n\u003cbr\u003e - Perfect for switching tones on dual-amplifier rigs\n\u003cbr\u003e - Isolate your tuner from the signal chain, while achieving silent onstage tuning\n\u003cbr\u003e - Leave output unplugged for a convenient mute function\n\u003cbr\u003eConvenient low-profile design\u003c\/p\u003e\n\n\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\n\n\u003cp\u003e - Small size is ideal for saving pedalboard space\n\u003cbr\u003e - LED indicator tells you which ¼” you have selected\n\u003cbr\u003e - Can run perfectly without power\n\u003cbr\u003e - Built rugged\n\u003cbr\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 Pedals","offers":[{"title":"Default Title","offer_id":40979298648138,"sku":"16029","price":95.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/16029.jpg?v=1766634865"},{"product_id":"jhs-pedals-berkeley-1973-fresh-fuzz-replica-26318","title":"JHS Pedals - Berkeley - 1973 Fresh Fuzz Replica","description":"\u003cp\u003eIn 1973, effects legend Craig Anderton and John Lang launched Seamoon Inc., releasing their flagship fuzz pedal the same year: the Fresh Fuzz. Initially, a fragile plastic enclosure design caused these Bakelite pedals to shatter when guitarists stomped on them, so Seamoon began recasing them in metal enclosures within a few months. Despite inaccurate reviews that the Fresh Fuzz was “thin sounding,” it gained popularity and has been used extensively by artists like Tom Scholz (Boston) and guitar virtuoso Eric Johnson. This is our tribute to the rarer single op amp 741 version (Version 1).\u003c\/p\u003e\n\n\u003cp\u003eThis pedal requires 9v dc negative center. 4Ma consumption. Do not use more than 9v dc, or your warranty will be voided. \n\u003cbr\u003eThe Berkeley 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.\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979340492874,"sku":"26318","price":258.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/26318.jpg?v=1766628592"},{"product_id":"jhs-pedals-plugin-1967-boss-tone-replica-26319","title":"JHS Pedals - Plugin - 1967 Boss Tone Replica","description":"\u003cp\u003eIn the mid-’60s, the world’s first nuclear company, Victoreen Instruments, launched Jordan Electronics. They started out manufacturing transistorized guitar amps and debuted the first commercially successful U.S. based plug-in effect at the 1966 NAMM Show, the Boss Tone, though it didn’t hit the market until 1967. At the time, fuzz was still a new frontier for most guitarists, but nothing else on the market looked or sounded quite like the Boss Tone (a true testament to the ingenuity of Jordan Electronics’ owner, George Cole, and head engineer, Bob Garcia). The original unit is a small 1¾ by 2¼ inch molded plastic box that plugs directly into the guitar’s output jack. Unfortunately,  plug-in effects never quite captured the practicality of a good old-fashioned stompbox, so we’ve created a floor-based pedal that features the same unique tone.\u003c\/p\u003e\n\n\u003cp\u003eThis pedal requires 9v dc negative center. 4Ma consumption. Do not use more than 9v dc, or your warranty will be voided. \n\u003cbr\u003eThe plugin 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.\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":40979340558410,"sku":"26319","price":258.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/26319.jpg?v=1766628583"},{"product_id":"jhs-hard-drive-modern-distortion","title":"JHS - Hard Drive Modern Distortion - 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\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eA FRESH APPROACH\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eA fresh approach to achieving high gain distortion in a pedal format, the Hard Drive includes cascaded gain stages and a hard limiting circuit, followed by a class AB amplifier section that drives a “sweepable midrange” EQ and Baxandall bass and treble controls. With its generous external controls, the Hard Drive lets you dial in everything from grinding tube amp crunch to a bona fide wall of distortion that can easily cut through any stage or studio mix.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eHONORING CLIFF SMITH\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eThe Hard Drive holds a special place in JHS history as the final design work of our former head engineer, Cliff Smith. The prototype and design had been finalized just weeks before he passed away in 2021.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e“I don't know that there's ever been a JHS circuit where we experimented more. It was always a loose and casual approach to getting this right. I knew something great would come of it, so we just let it simmer…Cliff would call the Hard Drive circuit a mutt, and I agree– meaning this circuit is not a clone of anything in particular but rather an original iteration of tons of different inspirations and ideas, kind of like the Colour Box that he and I developed years earlier. I have vivid memories of Cliff spending entire weekends and nights tinkering and experimenting with this circuit. He would message me notes on the weekend when he got excited about something he stumbled into. This pedal was his hobby for a long time. He truly loved big, complicated gain staging and the challenge of making solid state circuitry respond like a valve amp. As a passion project that became a real product through Cliff’s consistent work, I can’t think of a more fitting last release from us as a design team than the Hard Drive. Cliff loved learning and this was his last masterclass. It’s an honor to finally put it out and let people enjoy the idea he brought to life.” - Josh Scott\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eVolume -\u003c\/strong\u003e Controls the overall volume of the pedal. Left is less, right is more.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMid Freq -\u003c\/strong\u003e Controls which mid frequencies are boosted or scooped by the Mid control.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eDrive (Distortion)\u003c\/strong\u003e - Controls the amount of drive (distortion). Left is less, right is more.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eBass -\u003c\/strong\u003e Controls the bass frequencies level. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eMiddle -\u003c\/strong\u003e Controls the mid frequencies level. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Freq control.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eTreble -\u003c\/strong\u003e Controls the treble frequencies level. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSilent soft touch switching with a buffered bypass.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 78mA, AND MEASURES 2.6\" X 4.8\" X 1.6\". 0_357\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":41425715101770,"sku":"82266","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/JHS_Pedals_Hard_Drive_TAN_1100x_03bc4a90-9a7b-4b2d-8b84-304e7c90bf9c.png?v=1766567940"},{"product_id":"jhs-packrat-while","title":"JHS Pedals - Packrat - While","description":"\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003ePACKRAT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 1978, one of the most versatile distortion pedals of all time was invented in Kalamazoo–the ProCo RAT. Scott Burnham and Steve Kiraly had the idea after playing, repairing, and modifying all distortion pedals on the market. They wanted something that didn’t exist yet at MXR, DOD, or BOSS, a pedal that could go from overdrive to distortion and all the way to fuzz. By 1979, Scott perfected the circuit in his rat-infested basement workshop. The rest is history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eThe PackRat is the ultimate tribute to 40+ years of RAT evolution and its impact on guitar’s sound. Artists from every genre have used this iconic and unassuming black box to create their tones, including Nirvana, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck, and Radiohead. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eThe PackRat uses the same unique digital runway system featured in our other multimode pedals (Muffuletta and Bonsai) to direct the paths of 261 components through 40 individual switches. This means when you choose one of the nine legendary modes, you are playing fully analog circuits that perfectly replicate that mode down to the aging components. If you purchased these nine hard-to-find pedals on the used market right now, you’d pay around $4k. The Pack Rat at $249 saves you thousands! \u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 style=\"mso-pagination: widow-orphan; page-break-after: auto; margin: 0cm 0cm 6.0pt 0cm;\"\u003e\n\u003ca name=\"_pax31nk9g552\"\u003e\u003c\/a\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 11.0pt; line-height: 115%; color: black;\"\u003eControls\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eUsing the PackRat is straightforward. “Volume” adjusts the overall volume of the pedal. “Distortion” lets you raise and lower the amount of gain or distortion. “Filter” allows you to brighten or darken the sound of the overall effect, acting as a simple low-pass filter. The “Mode” knob is a rotary switch that clicks between each of the nine legendary RAT versions. As you change the mode, the analog circuitry is rewired between different values of resistors, capacitors, diodes, and op-amps. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eResearch I obtained over 100 different RAT specimens for study and interviewed former ProCo employees about the design, evolution, and production of the RAT. Many of the widely accepted “facts” about the differences in versions or sounds, including some of my own beliefs, were misinformed at best. Often, they’re wrong. Reliable sites had inaccurate timelines with incorrect pictures of the respective models. Even ProCo’s own history was missing tons of details about changes made to the RAT over the past 40 years. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eTo find the facts and properly understand this circuit, we obtained and studied every RAT model ever made (including some prototypes) in great detail. We analyzed them using state-of-the-art audio precision equipment, measured components, built comparison charts, traced each circuit, and closely examined the branding, logos, and other changes as precisely as possible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eVintage units are typically dated by reading manufacturer codes on potentiometers and knobs. Unfortunately, this is a flawed dating method. ProCo would have ordered thousands of potentiometers, and many pedals were made with parts that were at least two or three years older than the production date. This means you’ll see v1s, v2s, and v3s with overlapping dates. Combine this with decades of people “remembering” what RAT model sounds the best, and you’re in a historically inaccurate hot mess. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eTo properly build an accurate timeline and database of changes, I dated components when possible, interviewed people involved in the eras of production, referenced over 1,000 online sales photographs, and studied the prototypes and evolution of engineer design ideas. I did everything possible to build an airtight case for my work and not rely on any prior timelines. The results may not be perfect, but they’re pretty close. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 style=\"mso-pagination: widow-orphan; page-break-after: auto; margin: 0cm 0cm 6.0pt 0cm;\"\u003e\n\u003ca name=\"_bkrkddqac3cl\"\u003e\u003c\/a\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 11.0pt; line-height: 115%; color: black;\"\u003eThe PackRat Modes \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/h4\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e1. The OG v1 (79-83)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eThe OG is a perfect recreation of the first line of RATs ever made. Early v1s are also known as the Fringe Logo and can be identified by the word RAT having a slight fringe graphic on the typeface. The v1 also has small silver capped knobs and a Tone knob instead of the more familiar Filter label. From a circuitry standpoint, the v1 and v2 Big Box models are practically identical except that the v1 Tone control increases treble as you turn clockwise while the v2 Filter control decreases treble. In the OG mode, you are playing the exact circuitry of my 1979 v1 Fringe model, including accurate Tone control rotation and taper. You should know the v1 and v2 are the same circuit. Simple adjustments to the Tone\/Filter control can achieve identical sounds from each unit. I know super nerds will ask why we didn’t include a Bud Box mode. Basically, I’d consider the Bud Box RAT to be a v1 because it is nearly identical, other than having an input buffer and a few extra parts. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e2. White Face v3 (84-86)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 1984, the RAT transitioned to a smaller square enclosure with a new white rectangle logo. The word RAT was in all black caps inside the white rectangle–hence the “White Face” nickname. In 1986, this same model had a logo change that inverted the white and black colors, resulting in the more familiar white rectangle outline and font on a black enclosure. This “White Face” model has become a holy grail RAT and even spawned a reissue in the nineties. The irony is that it’s the same exact circuit as the previous Big Box V2, the 1986 “Black Face,” and the 1989 RAT2. The “White Face” V3 update was purely cosmetic due to screen printing errors that needed to be solved. ProCo knew that the world wanted smaller pedals as brands like BOSS, DOD, and Ibanez gained increasing market share. They wisely cashed in on the trend. Why would I put this particular version in my PackRat if it’s not different from the OG? For one, nostalgia is a powerful thing. Second, this mode switches to the reverse orientation Filter control with an entirely different feel and experience. It also widens the sweet spot for the most beloved RAT tones. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e3. Turbo v5 (89)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eThe heart of the RAT tone comes from symmetrical hard clipping. A simple amplifier circuit amplifies the signal and pushes it across a pair of clipping diodes. These diodes clip off the top of the waveform and create square wave distortion. Every RAT until 1989 utilized silicon diodes, like the DOD 250 and BOSS DS-1, but the new Turbo RAT used LEDs. This technique was a first in pedals and offered a completely new RAT experience. The silicon diodes in previous versions have a lower forward voltage, leading to a faster and more extreme clipping of the waveform. This type of diode creates a very saturated tone. 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 clipping point, creating more touch sensitivity. It is also worth noting this model was the first RAT to offer the sloped enclosure we see today. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e4. BRAT v6 (97)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 1997, ProCo got into the budget pedal game by releasing the BRAT and the Guitar Center exclusive Roadkill. So far, these identical circuits with different but very 90s grunge aesthetics have the most changes in the evolution. This design added an input buffer circuit and soft clipping (inside the op-amp) on top of the hard clipping of previous RATs. We also see a return to the opposite taper\/rotation Filter control and several capacitor value changes that alter frequency response and distortion characteristics. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e5. Dirty v7 (04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 2002, ProCo released a 2-in-1 RAT pedal called the Deucetone. This 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” and “Dirty RAT.” Due to the popularity of the “Dirty RAT” mode, they released it as a single pedal called You Dirty RAT. This circuit utilizes germanium diodes in the symmetrical hard clipping section. This gives the most saturation and waveform clip-off of any version to date. In addition to the diode changes, this model had several different capacitor value changes, which led to a different distortion character and feel. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e6. LA (86)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 1986, Ibanez released the 10 Series, which included three RAT style pedals. The Super Product and Fat Cat were traditional RAT-style pedals, while the quirkier LA Metal was, in my opinion, 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. The distortion is produced by overloading or “clipping the rails” of the op-amp. You may not play LA metal, but I promise you’ll love this mode! \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e7. Landgraff MO’D (99)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eBetween 1999 and 2000, John Landgraff started building pedals by hand in Pensacola, each with a unique swirl paint job and soldered point-to-point. John’s pedals gained a reputation for sounding amazing and remain the true definition of boutique. Of all his releases, my favorite was a distortion pedal called the “MO’D,” a distant cousin of the RAT and a fantastic pedal in its own right. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e8. Caroline (10) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eA few years after starting JHS, I purchased a fascinating distortion pedal from a brand new company in South Carolina. I remember jumping on the phone and geeking out with the designer and head of the company, Philippe Herndon. We talked about the circuit, his love for RATs, and his clever take on the circuit. That pedal was called the Wave Cannon, and when I started the PackRat project, Philippe was obviously the friend I needed to bring along for the ride.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003e9. JHS Mode \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin: 14.0pt 0cm 14.0pt 0cm;\"\u003e\u003cspan lang=\"EN\" style=\"font-size: 14.5pt; line-height: 115%; color: #323945;\"\u003eIn 2003, I managed a tiny guitar shop in Northwest Alabama. One day, a man walked in wanting to sell a vintage Small Box RAT. When the shop’s owner said he wasn’t interested, I said I was and bought that RAT for $15. This event led me down the pedal-collecting rabbit hole. That pedal stayed on my board for a decade. When I started modifying and building pedals in 2007, I opened it up and modded it to give a different kind of sound. That modification led to the now discontinued JHS All American and the JHS “PackRat” mod we performed on thousands of RAT pedals from 2008-2018. The JHS Mode lets me keep what makes the RAT unique and add in a few of my favorite mods.\u003c\/span\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":41570664710218,"sku":"83073","price":359.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/JHS_Pedals_Packrat_White.png?v=1766559824"},{"product_id":"jhs-flight-delay-white","title":"JHS Pedals - 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, we worked hard to bring you the opposite - a beautifully simple stompbox that combines the most essential delay types with the features that matter. With three modes (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! \u003c\/p\u003e\n\u003cp\u003eCONTROLS\u003cbr\u003e•    MIX - 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•    REPEATS - 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•    EQ - Adjusts the tone or color of the repeats. Left is a darker, warmer delay tone. Right is brighter and crisper.\u003cbr\u003e•    TIME - Controls the length of the delay from 50ms to 1 second. Left is shorter, right is longer.\u003cbr\u003e•    MODULATION - The 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•    MOD DEPTH - Controls the depth or level of the modulation effect. Left is less, right is more.\u003cbr\u003e•    MOD RATE - Controls the rate of the modulation. Left is slower, right is faster.\u003c\/p\u003e\n\u003cp\u003eMODE TOGGLE\u003cbr\u003e•    ANALOG - A filtered analog-style BBD delay that harkens back to classic echo pedals like the \u003cbr\u003e•    EHX Memory Man and BOSS DM-2.\u003cbr\u003e•    REVERSE - Plays the delay signal backwards, inspired by effects like the Danelectro Back Talk and Line 6 DL4 Reverse mode. \u003cbr\u003e•    DIGITAL - Crisp, digital-style delay that pays tribute to early DSP delays like the BOSS DD-5 and the Ibanez DE7.\u003cbr\u003e•    **Note: when switching between modes, the delay time will default to the Time control setting.\u003cbr\u003e•    SUBDIVISION TOGGLE - Sets the interval of delay repeats - quarter note, eighth note, or dotted eighth note in relation to your tapped tempo.\u003cbr\u003e•    MODULATION TOGGLE - Sets delay modulation style to chorus, vibrato, or off.\u003cbr\u003e•    TRAILS 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.\u003c\/p\u003e\n\u003cp\u003eTAP\/EXPRESSION CONTROL FOR DELAY TIME\u003cbr\u003e•    TAP - For external tap control, plug a mono TS cable into the TAP\/EXP jack and connect to a switch or clocking device.\u003cbr\u003e•    EXPRESSION - 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•    LEFT FOOTSWITCH - Bypass switch, which turns the effect on and off.\u003cbr\u003e•    RIGHT 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.)\u003c\/p\u003e\n\u003cp\u003ePOWER\u003cbr\u003e•    INPUT - 1\/4” jack on the top right side of the pedal.\u003cbr\u003e•    OUTPUT - 1\/4” jack on the top left side of the pedal.\u003cbr\u003e•    TAP\/EXP JACK - 1\/4” jack on the top between the input and DC jack. \u003cbr\u003e•    POWER - Requires 9VDC negative center power and consumes 85mA. Do not use more than 9VDC, or you will void your warranty.\u003c\/p\u003e\n\u003cp\u003eTHE JHS PEDALS FLIGHT DELAY IS IN NO WAY AFFILIATED WITH OR ENDORSED BY IBANEZ, BOSS, DANELECTRO, ELECTRO-HARMONIX OR LINE 6.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eTHIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 85mA, AND MEASURES 4.7\" X 3.7\" X 1.5\" \u003cbr\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":41676563578954,"sku":"83708","price":359.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15pJHS-Pedals-Flight-Delay-White.png?v=1766554938"},{"product_id":"jhs-violet-distortion","title":"JHS - Violet - Lari Basilio Distortion - Black","description":"The 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. The 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. This 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.\n\nThe 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.\n\nThis 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?” \n\nCONTROLS\n•\tVolume - Controls the overall volume of the unit. Left is less, right is more.\n•\tMid Sweep - Controls which mid frequencies are boosted or scooped by the Mid control.\n•\tDrive - Controls the amount of drive. Left is less, right is more.\n•\tLow - Controls level of bass frequencies. Noon is flat, left is cut, right is boosted.\n•\tMid - Controls level of mid frequencies. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Sweep control.\n•\tHigh - Controls level of treble frequencies. Noon is flat, left is cut, right is boosted.\n\nJACKS\n•\tINPUT - ¼” jack on the top right side of the pedal.\n•\tOUTPUT - ¼” jack on the top left side of the pedal.\n•\tPOWER - 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.\n\nTHIS PEDALS MEASURES 4.7” X 3.5” X 1.5” AND CONSUMES 55mA.\n","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":41676578291786,"sku":"83712","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15pJHS-Pedals-Violet_Black.png?v=1766554934"},{"product_id":"jhs-violet-lari-basilio-distortion-purple","title":"JHS - Violet - Lari Basilio Distortion - Purple","description":"The 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. The 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. This 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.\n\nThe 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.\n\nThis 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?” \n\nCONTROLS\n•\tVolume - Controls the overall volume of the unit. Left is less, right is more.\n•\tMid Sweep - Controls which mid frequencies are boosted or scooped by the Mid control.\n•\tDrive - Controls the amount of drive. Left is less, right is more.\n•\tLow - Controls level of bass frequencies. Noon is flat, left is cut, right is boosted.\n•\tMid - Controls level of mid frequencies. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Sweep control.\n•\tHigh - Controls level of treble frequencies. Noon is flat, left is cut, right is boosted.\n\nJACKS\n•\tINPUT - ¼” jack on the top right side of the pedal.\n•\tOUTPUT - ¼” jack on the top left side of the pedal.\n•\tPOWER - 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.\n\nTHIS PEDALS MEASURES 4.7” X 3.5” X 1.5” AND CONSUMES 55mA.\n","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":41676595724362,"sku":"83711","price":285.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/15pJHS-Pedals-VioletPurple_6d860ea5-5aa8-4d8e-8963-c19f182657de.png?v=1780517217"},{"product_id":"jhs-pedals-kilt-10-overdrive-pedal","title":"JHS Pedals - Kilt 10 Overdrive Pedal","description":"\u003cp\u003eThe Kilt 10 - Celebrating a Decade:\u003c\/p\u003e\n\u003cp\u003e- After 10 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\n\u003cp\u003eWhere It Began:\u003c\/p\u003e\n\u003cp\u003e- In 2015 we launched the ultimate dirt pedal with Stu G (legendary guitarist, writer, producer, and founding member of UK band Delirious?), and we never looked back. He wanted a pedal that could cover any ground he needed for his studio work and extensive touring gigs across the globe. From that request, the Kilt was born, and ever since, it has been one of our best-selling overdrive\/distortion pedals year after year.\u003c\/p\u003e\n\u003cp\u003eThe Evolution of Overdrive:\u003c\/p\u003e\n\u003cp\u003e- The original Kilt carved out its own space in a crowded field by focusing on clarity, versatility and musical responsiveness. But over the years, we kept hearing the same requests: more headroom for cleaner tones, more audible effect from the flat\/cut toggle, and more control over the low-gain textures. The Kilt 10 addresses every one of these requests while maintaining the DNA that made you fall in love with the Kilt in the first place. It's what you love but better.\u003c\/p\u003e\n\u003cp\u003eWhat's New for 2025:\u003c\/p\u003e\n\u003cp\u003e- An 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 10 years.\u003c\/p\u003e\n\u003cp\u003e* Improved 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.\u003cbr\u003e* Enhanced 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.\u003cbr\u003e* Increased 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.\u003cbr\u003e* Refined 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).\u003cbr\u003e* Diode 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.\u003c\/p\u003e\n\u003cp\u003eHow to Use It:\u003c\/p\u003e\n\u003cp\u003e- The 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\n\u003cp\u003e- The 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\n\u003cp\u003e- And 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\n\u003cp\u003eControls:\u003c\/p\u003e\n\u003cp\u003e- Volume: 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. \u003cbr\u003e- Gain: 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. \u003cbr\u003e- Tone: Controls the amount of brightness. Left is darker, right is brighter. High-frequency control with enhanced clarity and improved amp compatibility.\u003cbr\u003e- G1 \/ 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.\u003cbr\u003e- Low-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\n\u003cp\u003eJacks:\u003c\/p\u003e\n\u003cp\u003e- Input: Lower jack on the right side of the pedal.\u003cbr\u003e- Output: Jack on the left side of the pedal.\u003cbr\u003e- Red Remote: Upper jack on the right side of the pedal with a red washer.\u003c\/p\u003e\n\u003cp\u003e* The 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\n\u003cp\u003eVersion History:\u003c\/p\u003e\n\u003cp\u003e- Kilt V1: Larger enclosure; 2 foot switches; independent boost on right side; 4 knobs and 4 toggles.\u003cbr\u003e- Kilt V2: Smaller enclosure; 3 knobs and 3 toggles; Red Remote system added.\u003cbr\u003e- Kilt 10: 10-Year Anniversary Special-Edition Mod released in 2025. Polished aluminum finish with Expandora-style knobs. Updated Scottish flag-inspired icon.\u003c\/p\u003e\n\u003cp\u003e* This pedal measures 2.6\" x 4.8\" x 1.6\" and consumes 64 mA. Do not use more than 9 V DC. Damage may occur and your warranty will be voided.\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":43121366597706,"sku":"86476","price":359.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/7113\/6842\/files\/Kilt-10year3_1100x_f9cd4825-b6ed-451d-9d4e-484a2350f4cc.png?v=1766527883"}],"url":"https:\/\/stevesmusic.com\/collections\/jhs-in-stock.oembed","provider":"Steve's Music Store","version":"1.0","type":"link"}