Josh Scott started working on pedals simply as an experiment to figure out what made his Keeley Modded Boss Blues Driver so different to a stock one. Prior to these experiments he had no previous knowledge on electronics. This curiosity of pedals and their circuits would eventually lead to Josh coming up with his own circuit designs and the formation of JHS pedals.
Josh’s unquestionable knowledge and passion for effects is famous worldwide and its this reputation that in many ways has led to JHS becoming a sort of ambassador for hand built, ‘boutique’ effect pedals. Pedals such as the Morning Glory and Angry Charlie are found on professional pedalboards around the world and the JHS modded pedals such as the ProCo Rat, EHX Big Muff and the EHX Soul Food ‘Meat and 3’ are renowned for being some of the best modded pedals available.
A testament was made to Josh’s pedals and his passion for effects when Boss, one of the pedal manufacturers that he admires the most chose to collaborate with JHS as part of their 40th anniversary. The Boss Angry Driver was boss’s first collaboration in their 40 year history.
Here at Bonners we’re absolutely delighted to be one of only a few dealers of JHS pedals in the UK. We have a large selection of their own pedals as well their modded pedals available for you to try in our Eastbourne Store. Order online for next day delivery or call us on 01323 636141 for more details.
JHS Pedals Angry Charlie V3 Overdrive Effects Pedal JHS initially made their name by producing some illustrious mods of existing pedals from other manufacturers. Since those early days, they began to build pedals all their own and quickly became an established and extremely highly-regarded boutique pedal builder in their own right. One of their all-time stand-out pedals, that helped establish their reputation as a builder, is the Angry Charlie Overdrive. It is so highly respected in fact that Boss, the company who’s pedals JHS started out by modifying, recently chose the Angry Charlie as the circuit to incorporate into their 40th-anniversary pedal, the ‘Angry Driver’. This stands as a full-circle testament to the quality and respect that both JHS and the Angry Charlie have garnered in the industry. How To Hold A JCM800 In The Palm Of Your Hand The Angry Charlie lives in high-gain town. It bases its character and tonality on that of the much-beloved JCM800 from Marshall. This amplifier was the flag bearer for the blistering tone of the 1980s. The glorious, powerful, hair-metal guitar sound that echoed through that decade were more often than not the product of that historic amp and it is exactly that tone that JHS has aimed to capture in their Angry Charlie V3. The Angry Charlie possesses all the hefty bass, thick mids, characterful highs, and face-melting power that was originally present in the JCM800. It harnesses all that big, 80’s, British soul and packs it all into a small red box. What’s New In Version Three? The Angry Charlie is in its third evolution. The biggest change with the latest version comes in the form of a fifth knob. This new knob brings with it a move to a 3-band-eq functionality. Gone are the “Presence” and “Tone” controls from previous iterations. The tone controls of old did allow you to shape the pedal for the various guitar and amp combinations but this move to a 3-band-EQ allows much finer shaping of the tone. This allows for much greater flexibility and control with the new V3 and also edges the pedal that bit closer to the Marshall amp it is so carefully paying homage to. Control Aside from the new 3-band-EQ, there are two other knobs to pay attention to. The first is a “Volume” knob. This is fairly self-explanatory, it sets the volume level of the pedal. The second is the “Drive” knob. This is essentially the gain setting, how driven the pedal is, how much distortion is present. The aforementioned EQ controls are worth mentioning too. They work on a cut/boost basis. This means that when the knobs are set at noon, they are having no effect on the sound. You can then turn them clockwise to boost the bass, mid, or treble frequency amounts up past unity. A turn anticlockwise acts to cut each of those frequencies. This allows for really powerful and intuitive tone shaping. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
JHS Pedals BENDER MKIII Silver Orange Tone Bender Fuzz Pedal JHS Pedals have had fuzz pedals in their lineup for over a decade. They have designed original circuits, replicated classics, and have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is JHS Pedals tribute to the most important fuzz circuits ever made. It is their 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 April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create. The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange Onomatopoeia version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors. The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a Mode button that lets you access a never-before-heard JHS Mode. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about. If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.
JHS Pedals CRIMSON Red Army Distortion Fuzz Guitar Pedal JHS Pedals have had fuzz pedals in their lineup for over a decade. They have designed original circuits, replicated classics, and have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is JHS Pedals tribute to the most important fuzz circuits ever made. It is their 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 1969, Electro Harmonix released the first Triangle version of the legendary Big Muff distortion fuzz. All throughout the 1970's we see various new revisions of this famous circuit like the V2 Rams Head (1973), V3 Pi (1977), V4 Op Amp (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade. In the early 90's Mike Matthews noticed that his 1970's Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*. This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* Civil War (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history. The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a Mode button that lets you access a never before heard JHS Mode. Push that button for a mid frequency boost that forces your sound through the mix. If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you.
JHS Pedals EHX OpAmp Muff Pumpkin Patch Mod Pedal A Brief History of the Op Amp Muff In 1978 business was booming at Electro Harmonix. They had offices internationally and their highly esteemed Big Muff pedals were flying off the shelves. It was in this year that EHX thought it about time to streamline the manufacturing process and reduce manufacturing costs of one of their aforementioned Big Muff pedal and created a new version, the V4. This streamlining came in the form of fairly drastic alterations made to the circuitry, namely, the removal of one of the gain stages and a changing of the chipset. The chip they used at the core of the V4 was called the �Operational Amplifier� chip, otherwise known as the �OpAmp� chip. Probably the most famous user of this V4 era of Big Muff pedal was one Billy Corgan from the band Smashing Pumpkins. It was first used by him on the album Siamese Dream. In a 2005 interview with Netphoria he even mentioned the V4 OpAmp Big Muff pedal�s influence over the album, saying that �the Big Muff pedal changed the entire course of the album�. He goes on to mention the various other personal and emotional factors that made the album so important to a lot of people, but, alongside those aspects, he says that �the Big Muff is just as important.'' The OpAmp chip ceased to be used in the Big Muff with the release of the V6 in 1979 which switched over to use transistor circuitry. A Smashing Modification Careful examiners of this particular pumpkin may notice two additional growths. First and foremost, on the bottom-left corner of the chassis you will find a three-way mini-switch. This is a new control to select the type of gate that you would like. It�s a new feature not often seen on fuzz pedals but a control that can be hugely influential to the overall sound. Fuzz is a very unruly effect that is incredibly sensitive. A gate control limits how much of your guitar gets through the pedal and is spat out the other side. The switch�s three positions are as follows. Up: Here the pedal is all stock. It uses the same gate present in the pedal as standard. Middle: Here the pedal tightens things up. The pumpkin shrinks. The gate is reduced which in effect throttles the sound and lets through a more limited array of madness. Sustain is reduced and the fuzz sound is kept on a tighter leash. Down: Here the pumpkin decomposes. The gate is lowered and a lot more is allowed through. It is much messier with a lot more bleeding of sound also resulting in longer sustain and and the response of the fuzz to your playing. Secondly, on the bottom-right corner of the chassis one will find a control knob. This knob controls the mid frequencies. A hidden feature of JHS�s pumpkin patch mod is the boost they have given to the lower mids out of the box as standard. This welcomed change is coupled with the knob on its right side which is a mid control which allows you to dial in the exact amount of mids to best suit your rig. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
JHS Pedals EHX Triangle Muff Illuminati Mod Pedal A Brief History of the Triangle The Triangle Big Muff from Electro Harmonix is a lovingly faithful reissue of the original V1 Big Muff sound and character first unleashed upon the world in 1969. It captures all the vintage, creamy, singing tones that made the Big Muff such a staple in the fuzz landscape. The name �Triangle� refers to the layout of it�s three knobs. The reissue was released in 2018 to commemorate the 50th anniversary of EHX as a company which was originally founded in 1968. While it does a very good job at capturing all of the original personality from its predecessor, our reptilian supreme overlords obviously thought there was more that could be done... Evidently, however, they were too busy assassinating heads of state, persecuting whistle-blowers, and destabilising foreign governments to do the work themselves and so the task fell to the good folks at JHS pedals! The result of their toil comes in the form of the Illuminati mod. Blinking Sideways The main change to the Triangle Big Muff that JHS put into place is to add two additional levels/styles of fuzz. This comes in the form of a new toggle switch adorning the bottom-left corner of the chassis. This switch expands the functionality of the pedal quite significantly and I, for one, thank and accept our benevolent lizard overlords for recommending such a wise and insightful change. The three modes are as follows. The Up Position: Here the pedal is unaffected. You get the original, stock sound of the Triangle Big Muff without any wizardry. The Middle Position: Here the pedal is opened up. The distortion becomes more intense and dynamic allowing for some more meaty, yet still controllable fuzzy goodness. The Down Position: This is full on conspiracy theory territory. Aliens and exist and 9/11 was an inside job when the switch is in this position. The pedal kicks into a realm it was never supposed to inhabit. A wildly aggressive fuzz is unleashed. Crazy saturation and power are abound. The toggle switch is not the only new addition however. On the bottom-right hand corner of the chassis one will find a new knob. This is used to control the intensity of the fuzz whenever the aforementioned switch is in the down position. Obey There are a few things to bear in mind with this mod. First and foremost, there isn�t the ability to use the pedal with a 9V battery anymore. It must be used with a power supply. Luckily the pedal takes the conventional 9V, negative centre, DC power and only draws 3mA so it fits in very effortlessly with almost any existing power supply setup one may have. The second thing to bear in mind is that the pedal may have some cosmetic damage due to EHX sending some of the more imperfect models to JHS. They�re all in A1 tonal condition, but there may be a few scuffs and bangs on the exterior. Novus Ordo Seclorum The Triangle Muff Illuminati Mod from JHS pedals is a really tasteful, versatile fuzz which captures everything from the subtle, vintage origins of the Big Muff V1 circuit, right the way through to cutting edge unforeseen power leaked directly from the Pentagon. It�s a great option for lovers of the famous Big Muff sound who are in need of just a little more flexibility. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
JHS Pedals Little Black Amp Box Attenuator Pedal Everyone’s heard of the ephemeral “sweet spot” that a good valve amp can deliver. The point in the amplifier when everything works in tandem, all the planets align, a secret musical dimension is accessed, and the amp just sings. It’s the tone that everyone longs for when they purchase a valve amp and the secret to why guitar giants like Hendrix, Clapton, Stevie Ray Vaughan and Freddie King sound oh so good! The Secret Unfortunately, for most, that “sweet spot” is a spot that is accessed through sheer volume. It is the sound of an amp pushed to, and often just beyond, it’s comfortable limits and is straining to send forth heaven-sent tone. It is the tone produced by pushing the power section of the amp, hard. The reason that is an issue is that valve amps are loud. Very loud. For most, turning your valve amps up to a level high enough to access this “sweet spot” isn’t possible due to the sheer amount of noise. That amount of volume tends to clash with certain ideals people tend to value like their relationship with their neighbours, their hearing, or the structural integrity of their house. Master Volume The hang-up is that old, glorious, mouthwatering valve amplifiers that everyone dreams about rarely had master volumes. The controls were typically very simplistic. You’d have one overall volume and some EQ controls (if you were lucky). The trouble here is that to get the amp to reasonable levels of volume you only have the one control with which to do so. At low volumes, with only one volume control, the amp is barely running and none of the components are given a chance to flex their muscles. Master volumes solve that issue. With that, you can slam the preamp section of the amp and then curtail the volume before it hits the power section, screams out of the speaker, and remodels your bedroom for you. The issue, as stated above is that the lauded amps of old rarely came with master volumes and as a result, some modern amps leave them out too. The Solution If you have an effects loop on your valve amp, JHS has the solution for you. The Little Black Amp Box Attenuator is a volume attenuator that sits between the preamp and power amp sections of your valve amp of choice. This is an ingenious fix as it allows you to run your amp organically, push the preamp section as hard as you want to get your desired amount of compression and beauty, then, take all that lovely tonal goodness and quieten it before it hits the power section. This allows you to get all the tone and character of an amp on full chatter at bedroom levels of volume. In effect, making the Little Black Amp Box one of the best overdrive pedals in existence. Forget “amp-like tone” this is actual, bonafide amp tone. The unit itself is housed in a ridiculously convenient, small housing, easily mountable underneath your board or to the amp itself. What’s more, it is also completely passive, meaning that there’s no batteries or power cables needed for it to operate. It’s built rugged with JHS renowned quality American construction. If you’re looking to tame your valve amplifier or access the tonal nirvana that resides within in any scenario, the Little Black Amp Box Attenuator may well be the perfect solution. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
JHS Pedals Lucky Cat Pink Delay Effects Pedal The JHS Pedals Lucky Cat is a wonderfully versatile digital delay pedal with digital, analogue or vintage tape sounding echos. It is influenced by the Pink Panther, an original and rare Analogue pedal from JHS which unfortunately had to be discontinued due to a scarcity of the parts required to keep it in production. Unashamedly Digital The Lucky Cat also takes its inspiration from the best-loved Digital units from the past and fuses the two together to offer a pedal that can deliver some of the best delay sounds out there in a convenient pedalboard-friendly package. Using digital technology, you can expect bright crystal clear delays affiliated with the most popular DD style units if that's what floats your boat. But a flick of the digital clear/vintage tape switch on the side and you can achieve old school tape-style delays, all in a small footprint. The Cat's Whiskers! The JHS Pedals Lucky Cat has managed to pack in all the features you will ever need to really hone your delay sound. Up to 1000ms of classic delay speeds on the Time control and an onboard tap-tempo with a ratio subdivision control with options of quarter note, dotted eighth note, eighth note, and triplets. You will have no excuse if your echos are not in sync with the band! You can leave your repeats completely unaffected, or you can flick the mini-toggle up or down for two different modulation settings. The first has a slight shimmer and the second has a more intense warble which can add more depth to your sound. The Darken knob acts as a pseudo-EQ control, or as a saturation control for the amount of analogue-ness. Turned fully clockwise it gives you crystal clear, digital repeats. Turned fully counterclockwise, you'll find much darker, analogue sounding repeats as well as everything in between. With the Mix control, you can go from 100% dry to 100% wet. This is useful to help the Lucky cat fit into any rig, whether you like to go straight into the front end of your amp, into an effects loop or you prefer to be really fancy and take a second amp for a wet/dry rig. The Lucky Cat also gives you the option of using an external unlatching footswitch for tap tempo, just in case you prefer to tap the speed of your delay from a more easily accessible place on your pedalboard. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the BEST PRICE.
JHS Pedals Morning Glory V4 Overdrive Effects Pedal Since it came out in 2009 the Morning Glory has been an extremely popular model for JHS with no end of praise and many awards to its name. Now with some added improvements the V4 has even more headroom than before, in fact twice as much as V3 and can deliver many classic drive tones without changing the tonal colour of your instrument. The 'T' Word Okay, I'm going to say it, the unavoidable cliche term used to describe every overdrive pedal since the dawn of time. Ready? The Morning Glory was designed to be a (here it comes) 'transparent' overdrive. Its goal is to give you more of what you already had, adding the magic ingredient to your rig. It can work with any guitar or amp combination, whether you play single coils or humbuckers you can be sure it will fit in with your existing setup with some useful features to tailor your drive sound. Mastery Of Control Drive control. This distinctly dials in more overdrive as you turn it but it also slightly increases the high end adding a little more sizzle. Tone control. Nothing too radical here but a traditional and simple high pass filter, the tone becomes brighter as you turn it up and darker as you turn it down. Gain toggle. This is a new feature for the V4. Flicking this little switch up gives you a more powerful sound with added low-end, plus more gain when the drive control is set higher. On top of that, your LED will turn red when activated, letting you know from a distance which mode you are in. If you wish, you can remotely switch this mode on with an external latching pedal connected to the Remote Gain 1/4 jack located on the side of the pedal. This is very handy for getting extra thrust during the throws of a live performance. With this added feature, It is like having two drive pedals whilst managing to keep your signal chain shorter. Bright cut toggle. An effective feature to adjust the overall brightness to suit your rig. If you have a particularly bright sounding setup or you prefer to use the Morning Glory always in high gain settings just flip this toggle to take some brightness away if desired. It is now located on the side of the pedal, where you can get to it easily if need be. Glorious Tones Morning, Noon, Or Night! As with all JHS pedals, the Morning Glory is built to a very high standard, with top quality components, true bypass switching, and the tried and true consistency that comes with buying a new American made pedal. So that's it, there is not much more to say about this pedal except, if you want to take your sound to the next level with some of the best drive tones available in a really easy to use pedal, this is it, simple!
JHS Pedals Muffuletta Fuzz Effects Pedal The Big Muff from Electro Harmonix has been an unavoidable titan in the world of fuzz since the ’60s. It is one of the quintessential pedals one pictures when thinking of classic, notable fuzz pedals. The pedal has, however, presented itself in a variety of incarnations. Each of these many iterations has a slightly different character and sound. They react differently to your playing and suit different purposes. This makes choosing between all of them quite a daunting task, until now! JHS To The Rescue! The Muffuletta from JHS Pedals is a six-headed Hydra of tone. JHS has managed to wrangle each of the quintessential Big Muff tones through the ages and cram them all into one pedal. They have really done a fantastic job of it too. Each of the classic Big Muff tones that have made their way onto many a classic record and many a famous stage has been captured and are accessible in an instant through the turning of the bottom-right knob. Each of its 6 modes serve as poignant love letters to what made each of the key Big Muff tones so sought after and revered. Analogue All The Way Not only have JHS managed to fit 6 unique, authentic-sounding fuzz circuits into the Muffuletta, but each of them is all analogue. This ensures that each circuit not only sounds authentic but that it reacts in a truly organic, dynamic way. You get real response and reactivity from every note and each mode feels like a living breathing beast. The Hydra’s Heads As mentioned above, each of the 6 modes the Muffuletta boasts is based upon old iterations of quintessential Big Muff pedals. Each of them has a distinct character and tone. They are as follows. The Civil War. A load of midrange and brightness. Not too much gain. The Pi. The classic and best known of the 6. Very tight and aggressive. ‘73 Rams Head. A more subdued, darker mode with a scooped midrange. The Triangle. A very articulate mode boasting a powerful low end. The Russian. Quite a dirty, murky mode. Not much low-end or definition. JHS 2015. Very powerful, bags of midrange, not too heavy on compression. (A great mode for bassists) EQ Rethought JHS, whilst carefully adhering to what made each of the pedals so highly-regarded, haven’t been too afraid to add a little bit of extra magic to the affair. One thing that has oft been considered an issue with some of EHX’s Big Muff offerings is the lacklustre tone control. They often either suffered from a narrow sweep or from the notorious “only sounds good in one spot” condition. JHS didn’t want their pedal to suffer from the same affliction. After careful scouring of classic pedals, the good folks at JHS found an old Russian Big Muff that had the perfect tone taper. They took what made this tone control so magical and emplanted it into the Muffuletta. This ensures that there is a smooth, characterful tone taper that is usable in any position no matter which circuit you are using. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
JHS Pedals Paul Gilbert PG-14 Distortion Guitar Effects Pedal Power drills at the ready, Paul Gilbert has released a signature guitar pedal with JHS. Mr Gilbert has teamed up with the good folks over at JHS pedals to create the ultimate stadium-esque drive pedal to give you huge, realistic, pushed drive tones at any volume, even without the use of half a dozen Marshall stacks. Finding The PerFET Fit The JHS Pedals �PG-14!� uses a FET based circuit to accurately emulate the touch, feel, and power of a pushed valve amplifier. FET�s are a type of transistor which is known for being very responsive to volume and current. This responsivity means that they are extremely dynamic which in turn makes them capable of producing powerful gain tones whilst still managing to clean up beautifully. Ultimately, the utilisation of a FET based circuit allows the JHS Pedals �PG-14!� to behave much like a true valve amplifier. The whole ethos of the pedal is to allow you to play with lively touch and feel even whilst immersed in the lofty heights of distortion Mr Gilbert has become synonymous with. The pedals aim is to avoid becoming muddied or one-dimensional at any point. The FET based circuitry, Mr Gilbert's specifications, and JHS�s wizardry allow the pedal to retain an unholy amount of articulation, control, and fidelity no matter where the gain level is set. Pull Gilberts other trick out the hat and partner it up with a mid pushing dirt pedal such as the JHS Bonsai or a Tubescreamer and unleash your lead tone into new territories of ear piercing pleasure. The Secret Sauce of Flexibility The JHS Pedals �PG-14!� also utilises clever placement of the mid control circuitry to allow the tonal character of the pedal to be shaped very extensively. There is an active mid-frequency preamp located just before the FET distortion circuitry. This is the key secret feature which allows the pedal to accomodate any guitar or amplifier with ease. It�s a seriously clever and powerful move allowing the pedal to sit comfortably in whatever rig it may be confronted with. The mid controls placement before the drive circuitry allows for a broader and more natural array of sweep. This is coupled with the mid frequency control which allows you to zero in on the exact part of the mid frequency range you which to be manipulating. It is the culmination of both of these features which affords the pedal is dizzying flexibility. Your Very Own Portable Dirt Channel The key draw with this pedal is its authentic, amp-like drive tone. It can deliver realistic, valve amp style drive tones with ease at any volume through any rig. The mixture of authenticity and flexibility make it a truly killer drive pedal for any application.
JHS Pedals SMILEY Hendrix Era Fuzz Face Guitar Pedal JHS Pedals have had fuzz pedals in their lineup for over a decade. They have designed original circuits, replicated classics, and have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is JHS Pedals tribute to the most important fuzz circuits ever made. It is their 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 1966, a salesman named Ivor Arbiter saw the rising British rock scene demanding the effect of fuzz. He decided that his company Arbiter Electronics* needed to join the other London guitar product companies and release his own take on this trending sound. After seeing the circular base of a mic stand, he came up with the idea to put the effect in a similar round enclosure and give it a face: two eyes made of knobs, a foot switch nose, and a brand label mouth. Thus, the Fuzz Face* was born. That same year an American guitarist named Jimi Hendrix arrived in London and adopted Ivor's design as his weapon of choice, and the rest is history. The first few years of the Fuzz Face* were manufactured using germanium transistors but by 1969, germanium fully gave way to silicon devices and Arbiter never looked back. Hendrix himself preferred the silicon versions over germanium because of their sound, aggressive bite, and their stability in environments where germanium proved inconsistent. The JHS Smiley is a sonically faithful recreation of what makes these early silicon Fuzz Faces great. Several vintage units from my collection were considered and analyzed so that we could be sure to perfectly capture the magic that I love in this era. The Smiley is clear and defined, straddling the line between distortion pedal and a searing sustain, sustaining low end and crisp mid-range bite that you expect from a vintage Arbiter unit. One of the most revered characteristics of a good Fuzz Face* is its ability to clean up when the guitar's volume is rolled back, and the Smiley does this effortlessly. The controls are Volume and Fuzz. Volume sets the overall output level of the effect; turn it up and it gets louder. Fuzz is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a Mode control. Push this button to access our own unique JHS Mode. This mode sends the Smiley into high gain / gated fuzz territory that you may never want to come back from. If you want a fuzz that covers coveted classic tones, look no further. Legends like Jimi Hendrix, Jack White, Eric Clapton, David Gilmour, and Eric Johnson have used this circuit on countless albums. Now it's your turn.
JHS Pedals SUPREME Black Gray Super Fuzz Guitar Pedal JHS Pedals have had fuzz pedals in their lineup for over a decade. They have designed original circuits, replicated classics, and have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is JHS Pedals tribute to the most important fuzz circuits ever made. It is their 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.
JHS Pedals The AT+ Andy Timmons Drive Boost Effects Pedal Thanks to the legendary guitarist Andy Timmons and his love of the Angry Charlie pedal, the JHS AT was a reincarnation of this original pedal by JHS. It has now been updated even further to the plus version with a completely independent boost feature. A Little History Andy bought and played the Angry Charlie as his main distortion pedal for a few years before a chance meeting with Josh. They discussed the pedal and set about tweaking the original to his exact requirements. The result was a pedal that worked so perfectly for Andy in his rig, that JHS just had to put it into production. It very quickly earned bags of positive attention and now, it works just as perfectly in other peoples setups all around the world. Sweet Tone It is designed to give you a meaty and thick distortion sound. All the sweet high gain tones you could want are on tap here, without sounding muddy or fizzy. Even with the cleanest amp, you can sound like you have a wall of stacks at full chatter! Watt?! Power Scaling In A pedal?! A very useful addition on the AT and now the AT+ is a 3-way toggle switch which switches between 25w, 50w and 100w modes. This gives the AT+ the feel of all three different types of power sections and the compression/headroom characteristics that each amp would give you. So the 25w would add more compression and gain, the 100w setting would give you more headroom and dynamics with the 50w somewhere between the two, perhaps for a great cranked half stack sound. Boost! Once you have your perfect drive sound, just combine the perfectly married boost at the moments you need just a bit more and you can really get the party started without the addition of another pedal. You also have the ability to use it on its own for a little extra crunch on your clean amp setting. This pedal can turn your old school rig into a 4 channel monster! Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the BEST PRICE.
JHS Pedals The Milkman Tape Echo Delay Effects Pedal The Milkman Tape Echo is the result of a collaboration between Josh Scott from JHS Pedals and Tim Marcus from Milkman Sound. These two tonal titans joining forces was bound to result in something truly special and the Milkman Tape Echo definitely lives up to the lofty expectations. It may well be one of the ultimate utility pedals out there. This is not some semi-skimmed everyday supermarket pedal. This is the real deal. We’re talking full-fat, gold-top, full of creamy goodness. The Echo The Echo The foremost feature of the Milkman Tape Echo is in the name. The Milkman is, primarily, a tape echo pedal designed to be a vintage-correct, high-quality, slap/echo delay for textural use. It’s a really great, simple to use, yet very authentic sounding echo that harkens back to the sound and use of the earlier delay units. The original tape units, which began to pop up in the late-50’s to early-60’s, were primarily used to fatten the tone, add ambience, and a little texture and pop to one’s sound. Slap You’ve got four controls on this side of the pedal. The first is “Slap”. This controls the time between the delays. As you turn up the amount of “Slap” the time between repeats increases. Bear in mind this is intended as a slap-back delay tone and so is intended for a short time between repeats. Mix Next is “Mix”. This knob is used to control the amount of the pedal that is being incorporated into the signal path. You could think of it as a blend knob controlling the wet/dry amount. Turning the knob anticlockwise will increase the proportion of your dry signal. When you turn it clockwise, the amount of wet signal will increase, blending in the pedal effect into your signal path in a variable amount. Repeat The “Repeat” knob controls the number of repeats that are delivered by the pedal. There is a limit of around four and a half repeats at the top when the knob’s round clockwise as far as it’ll go. When turned the other way, there is a minimum of one repeat. EQ Last but by no means least is the “EQ” control. This is an important part of the pedal as it powerfully shapes the character of the repeats to perfectly control their brightness. It can be seen as a variable time machine. As mentioned above, the pedal is based upon early tape echoes and that is exactly the tonality and behaviour you’ll get when the knob is turned clockwise to the fullest. There you’ll find the repeats take on a bright and gritty characteristic reminiscent of those old tape units. However, when the knob is turned anticlockwise to the fullest the pedal moves forward in time a good ten or twenty years into the late-60’s, early-70’s. This is when a lot of guitarists started moving away from tape and towards analogue delays for their consistency, reliability and tone. These early analogue delays utilised bucket brigade chips and, as a result, could occupy a much smaller footprint and didn’t have any moving parts to wear or break. They also have a much darker, murkier tone which a lot of guitarists adore. Having both of these tonalities available at the mere turn of a knob is a really powerful feature that allows you to find the perfect delay tone that fits with your rig no matter the circumstances. The Boost There was another use that a lot of lovely old tape echo units were famous for and it has nothing to do with repeating notes. A lot of these old units had, somewhat unintentionally, absolutely killer boost tones. The sheer machinery that got these old beauties to run, when pushed slightly, added a lovely warmth and kick to the signal that a number of guitarists fell in love with. There are even guitarists that run old tape echo units in their signal path without any actual tape in the unit at all. They merely run them empty, just to get access to the sweet, thickening, warming effects that come from having that pedal turned on with a guitar signal running through it. JHS has captured that elixir and poured it into the Milkman Tape Echo for access with a separate boost footswitch. This footswitch engages the miraculous, vintage boost tone modelled off those old tape units and can be used independently of the delay side of the pedal. Much like the old echo units, the boosts tonality and behaviour is extremely amp-like. When the boost level is set low, at unity, the pedal will work to thicken, clarify and enhance your tone. Turn the knob further to the right and it can be used to push the front end of your amp and add that lovely warm, vintage grit to your rig. The Last Drop This pedal is udderly fantastic. It’ll make you want to keep playing ‘till the cows come home. It’s a perfect way to add some moo-vement to your sound and even provides 30% of your RDA of calcium and vitamin D! OK, that might have been a bit of a stretch. But it is a truly fantastic pedal. It is made with JHS’s well renowned, very high-quality craftsmanship and a provides a really lovely, faithful tape echo/boost for any style of music. As mentioned earlier it really is an ideal one-stop-shop utility pedal. Why Bonners? Here at Bonners Music, you have the opportunity to try one of these great JHS effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the JHS pedal listed that you are after just call 01323 636141 for availability and the best price.
We are very sorry, but the browser you are visting us with is outdated and not complient with our website security.