{"title":"FUZZ \/ DISTORTION","description":"","products":[{"product_id":"packrat","title":"PACKRAT","description":"\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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 \u003cs\u003e$4000\u003c\/s\u003e $6000 \u003cem\u003e(updated Summer 2024)\u003c\/em\u003e. The PackRat at $249 saves you thousands! \u003c\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eControls\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eThe PackRat Modes \u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\u003e1. The OG v1 (79-83)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e2. White Face v3 (84-86)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e3. Turbo v5 (89)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e4. BRAT v6 (97)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e5. Dirty v7 (04)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e6. LA (86)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e7. Landgraff MO’D (99)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e8. Caroline (10) \u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e9. JHS Mode \u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 100MA, AND MEASURES 2.2\" X 4.8\" X 1.6\".\u003c\/strong\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42317406470244,"sku":"PK","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsPackRat.png?v=1698362779"},{"product_id":"muffuletta","title":"MUFFULETTA","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003eDISTORTION \/ FUZZ\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003ch2\u003eThe Muffuletta Modes \u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eJHS Mode - \"2015\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e1973 RAMS HEAD - “1973-1977 V2”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFamous users: David Gilmour (main Pink Floyd recordings), Ernie Isley (Isley Brothers), and J. Mascis (Dinosaur Jr.)\u003c\/em\u003e\u003c\/p\u003e\n\u003cstrong\u003eTHE TRIANGLE - “1969-1970 V1”\u003c\/strong\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFamous users: Santana, David Gilmour's Pete Cornish-made pedalboards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-rte-preserve-empty=\"true\" class=\"\"\u003e\u003cstrong\u003eTHE PI - “1977-1978 V3”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFamous users: \u003c\/em\u003e \u003cem data-mce-fragment=\"1\"\u003eFrank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townshend (The Who).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-rte-preserve-empty=\"true\" class=\"\"\u003e\u003cstrong\u003eTHE RUSSIAN - \"1999-2009 V8”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFamous users: Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-rte-preserve-empty=\"true\" class=\"\"\u003e\u003cstrong\u003eTHE CIVIL WAR - “1991-1993 V7”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\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\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFamous users: Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills, and Peter Buck (REM).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-rte-preserve-empty=\"true\" class=\"\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 4MA, AND MEASURES 2.2\"X4.8\"X1.6\".\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" data-rte-preserve-empty=\"true\" class=\"\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cblockquote data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\" class=\"\"\u003e\u003cem\u003e\"I want to give a massive thank you to my good friend Jon Cusack and \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.cusackmusic.com\/\" data-mce-href=\"https:\/\/www.cusackmusic.com\/\"\u003eCusack Music\u003c\/a\u003e 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\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42317421412452,"sku":"MFG","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsMuffulettaGreen.png?v=1698363281"},{"product_id":"colour-box-v2","title":"COLOUR BOX V2","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePREAMP \/ EQ \/ OVERDRIVE \/ DISTORTION \/ FUZZ \/ DI BOX\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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!\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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 buses, 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, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. \u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eVERSION 2 EMERGES\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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. \u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe most significant improvements are:\u003c\/p\u003e\n\u003cul data-rte-list=\"default\" data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eAddition of an Output transformer\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eSafely Passes 48V Phantom Power\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eEQ Shift Knobs for precision EQ control\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eHi\/Lo Switch for ultra clean headroom\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e100% available clean signal even on acoustic guitar\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eSilent switching, aka no \"switch-pop\"\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eRuns on standard 9V DC Neg power\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFEATURES \u0026amp; CONTROLS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMOST POWERFUL EQ YET\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eEQ Functions\u003c\/p\u003e\n\u003cul data-rte-list=\"default\" data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTreble Knob\u003c\/strong\u003e - Cut\/Boost Control     +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiddle Knob \u003c\/strong\u003e- Cut\/Boost Control    +\/- 10dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBass Knob\u003c\/strong\u003e -   Cut\/Boost Control   +\/-15dB  flat at noon.  CCW cuts, CW boosts.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eFrequencies controlled by EQ Shift Knobs:\u003c\/p\u003e\n\u003cul data-rte-list=\"default\" data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eTreble Shift \u003c\/strong\u003e- 2kHz to 30kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eMiddle Shift \u003c\/strong\u003e- 150Hz to 2.4kHz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBass Shift \u003c\/strong\u003e- 20Hz to 440Hz –  CCW lowers the center Freq, CW raises the center Freq.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe \u003cstrong data-mce-fragment=\"1\"\u003eHi-Pass\u003c\/strong\u003e 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 12dB per octave high pass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz.\u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eXLR AND OUTPUT\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\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.\u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eV1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eV2 = Larger enclosure; ten knobs total; added Hi\/Lo Toggle; passes phantom power. Output transformer addition.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\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\/strong\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42317936263268,"sku":"CBOX","price":449.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsColourBoxV2.png?v=1698373484"},{"product_id":"3-series-distortion","title":"3 SERIES DISTORTION","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe JHS Pedals 3 Series Distortion is a massively versatile distortion pedal with the ability to achieve medium gain crunch, heavy overdrive, distortion, and even fuzz tones. The controls on the Distortion are Volume, Filter (or Tone), and Distort knobs that give you a wide range of usable sounds in any position. The Gain toggle gives you a choice between more saturated and compressed or a more open and crunchy distortion. This switch plays a big part in how the pedal responds to your playing and touch dynamics. The JHS Pedals 3 Series Distortion runs on 9V DC Negative Center power and consumes 9mA.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eLENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42319790080100,"sku":"3SDT","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHS-Pedals-3-Series-Distortion-front.png?v=1698427388"},{"product_id":"3-series-fuzz","title":"3 SERIES FUZZ","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe JHS Pedals 3 Series Fuzz is a versatile fuzz box that cleans up well with your guitar's volume knob. The Fuzz is the perfect balance of vintage and modern with soaring sustain and clear articulation. The controls allow you to create a wide variety of sounds via the Bias knob, which gives the Fuzz a more gated sound as you turn it up. Unlike many fuzz pedals, the fuzz knob is usable across 100% of the sweep for many different flavors not typically found in a fuzz, like distortion, and even pushed amp Esq overdrive tones. The Fat toggle engages a bass boost for an overall fatter, more powerful sound. The JHS Pedals 3 Series Fuzz runs on 9V DC Negative Center power and consumes 9mA.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eLENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42319791095908,"sku":"3SFZ","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHS-Pedals-3-Series-Fuzz-front.png?v=1698427447"},{"product_id":"crayon","title":"CRAYON","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePREAMP \/ DISTORTION \/ FUZZ\u003c\/strong\u003e\u003c\/h2\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLITTLE BROTHER TO THE COLOUR BOX\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe JHS Pedals Colour Box began with a simple idea: create a pedal that sounds like plugging directly into a vintage preamp and cranking it. No amp, no speaker, just DI goodness. Well, the Colour Box became much more as we got into designing it. Thus we decided it was time to pare it down and give guitar players and bass players a simplified version that gives you the distinct compressed overdrive and fuzz sounds you’ve heard on so many classic recordings. The Crayon is just that, a powerful little box that has all the color and characteristics of a vintage studio preamp when cranked.\u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe Crayon has controls for Master, Pre-Vol, Tilt, and a Hi-Pass toggle. The Master volume controls the overall volume of the unit, while the Pre-Vol acts as a gain control to go from a gritty preamp drive to over-the-top gated fuzz. These controls work together to create a ton of colorful tones that are extremely useful. The Tilt control is an active EQ where when set at 12 o’clock you have a flat EQ, while turning clockwise boosts highs and cuts bass, and turning counterclockwise boosts bass and cuts highs. This gives the Crayon the ability to be tailored to any rig for bass or guitar. The Hi-Pass toggle cuts your low end with a flick of the switch for the ability to cut through the mix or get lo-fi sounds. There is a dip switch on the right side of the pedal to choose either 200Hz or 750Hz cut for the Hi-Pass. \u003c\/p\u003e\n\u003ch4 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eFEATURES\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e- Preamp DI tones from low gain grit to gated fuzz.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e- Active EQ for the perfect tones on bass or guitar.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e- Hi-Pass for lo-fi AM radio sounds.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e- Paint with all the colors of the wind.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need!\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 15MA, AND MEASURES 2.6\"X4.8\"X1.6\"\u003c\/strong\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42319837134948,"sku":"CY","price":199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsCrayon.png?v=1698431282"},{"product_id":"cheese-ball","title":"CHEESE BALL","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003ch2 data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDISTORTION \/ FUZZ\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eLong ago in a mysterious time that we call the 1990's, a new pedal company was created in England. Its ideas were off the beaten path, and its sounds were otherworldly. Despite existing only a few short years, these creations became the things of legend and one product in particular cast the biggest shadow. With such artists as The Edge (U2), Jimmy Page, Radiohead, Kevin Shields (My Bloody Valentine), Jeff Tweedy (Wilco), Gary Moore, and many others using the out-of-production units, their Used market prices have begun to rise more and more, sometimes into the $800 range. The Cheese Ball is our faithful and extremely accurate recreation of the original circuit, it is a tribute to one of the most fascinating brands and circuits of all time!\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe Cheese Ball has your standard Volume, Gain, and Tone knobs found on most distortion fuzz boxes, but comes with an extra mode selector knob that gives you four different overall tone and gain selections.  In the “off” position, the Tone knob is disengaged, giving you a bright and trashy fuzz\/distortion sound. In the “1” position you have a mid-scooped sound that will give you a Big Muff style buzz for a rounded sound reminiscent of fine mozzarella that sits just right on your pizza but doesn’t get in the way. The “2” position is a mid-boost sound that will cut through a mix like a hot knife through Velveeta. Finally, the “3” position gives you a biting, gated fuzz tone that, when cranked, spits, spats, and bites like gorgonzola naturale.\u003c\/p\u003e\n\u003cp class=\"\" data-mce-fragment=\"1\"\u003eThe JHS Cheese Ball is our homage to one of the most excellent fuzz\/distortion pedals ever created. Rediscover the finest aged cheese in the pedal world.\u003c\/p\u003e\n\u003cp class=\"\" data-rte-preserve-empty=\"true\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 9MA, AND MEASURES 2.6\"X4.8\"X1.6\".\u003c\/strong\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":42319838838884,"sku":"","price":179.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsCheeseBall.png?v=1698431384"},{"product_id":"hard-drive","title":"HARD DRIVE","description":"\u003ch4\u003e\u003cstrong\u003eMODERN DISTORTION\u003c\/strong\u003e\u003c\/h4\u003e\n\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\". \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"JHS Pedals","offers":[{"title":"Hard Drive BLACK","offer_id":44001819000932,"sku":"HDBK","price":199.0,"currency_code":"USD","in_stock":true},{"title":"Hard Drive TAN","offer_id":44001819033700,"sku":"HDTN","price":199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHS_Pedals_Hard_Drive_BLACK.png?v=1718995648"},{"product_id":"packrat-white","title":"PACKRAT WHITE","description":"\u003ch3\u003e\u003cstrong\u003eNOW AVAILABLE IN WHITE COLORWAY!\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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 \u003cs\u003e$4000\u003c\/s\u003e $6000 \u003cem\u003e(updated Summer 2024)\u003c\/em\u003e. The Pack Rat at $249 saves you thousands! \u003c\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eControls\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\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\/p\u003e\n\u003ch4\u003e\u003cstrong\u003eThe PackRat Modes \u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp\u003e1. The OG v1 (79-83)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e2. White Face v3 (84-86)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e3. Turbo v5 (89)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e4. BRAT v6 (97)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e5. Dirty v7 (04)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e6. LA (86)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e7. Landgraff MO’D (99)\u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e8. Caroline (10) \u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e9. JHS Mode \u003c\/p\u003e\n\u003cp\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\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 100MA, AND MEASURES 2.2\" X 4.8\" X 1.6\".\u003c\/strong\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":44299087741028,"sku":"PKWT","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSPedalsPackratWhite.png?v=1724076103"},{"product_id":"the-violet","title":"THE VIOLET","description":"\u003cp dir=\"ltr\"\u003eThe 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.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe 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.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis 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?” \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eVolume - Controls the overall volume of the unit. Left is less, right is more.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMid Freq - Controls which mid frequencies are boosted or scooped by the Mid control.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eGain - Controls the amount of drive. Left is less, right is more.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBass - Controls level of bass frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eMiddle - Controls level of mid frequencies. 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\"\u003eTreble - Controls level of treble frequencies. Noon is flat, left is cut, right is boosted.\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eJACKS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003eINPUT - ¼” jack on the top right side of the pedal.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOUTPUT - ¼” jack on the top left side of the pedal.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003ePOWER - 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.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eTHIS PEDALS MEASURES 2.6\" X 4.8\" X 1.6\"  AND CONSUMES 55mA.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLEARN MORE ABOUT LARI –\u003ca href=\"http:\/\/www.madisoncunningham.com\/\"\u003e \u003c\/a\u003e\u003ca href=\"https:\/\/www.laribasilio.com\/\"\u003eWWW.LARIBASILIO.COM\/\u003c\/a\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch6\u003e\u003cbr\u003e\u003c\/h6\u003e","brand":"JHS Pedals","offers":[{"title":"PURPLE","offer_id":44672691961956,"sku":"VIPL","price":199.0,"currency_code":"USD","in_stock":true},{"title":"BLACK","offer_id":44672691994724,"sku":"VIBK","price":199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHSVioletPurple.png?v=1730730489"},{"product_id":"kilt-10","title":"KILT 10","description":"\u003ch2 dir=\"ltr\"\u003e\u003cstrong\u003eTHE KILT 10 - CELEBRATING A DECADE\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAfter ten 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\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eWHERE IT BEGAN\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 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\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eTHE EVOLUTION OF OVERDRIVE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe 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\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eWHAT'S NEW FOR 2025\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn Updated Look –\u003c\/span\u003e\u003cspan\u003e 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 ten years.   \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eImproved Gain Control\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u003c\/strong\u003e 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.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eEnhanced High-End Clarity\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u003c\/strong\u003e 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.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eIncreased Volume Headroom\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u003c\/strong\u003e 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.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eRefined Toggle Switches\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e:\u003c\/strong\u003e 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).\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eDiode Choice Enhancement\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e: \u003c\/strong\u003eA 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. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eHOW TO USE IT\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe 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\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe 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\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAnd 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\/span\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVOLUME\u003c\/span\u003e\u003cspan\u003e - 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. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGAIN\u003c\/span\u003e\u003cspan\u003e - 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. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTONE\u003c\/span\u003e\u003cspan\u003e - Controls the amount of brightness. Left is darker, right is brighter. High-frequency control with enhanced clarity and improved amp compatibility. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eG1 \/ G2 TOGGLEs\u003c\/span\u003e\u003cspan\u003e - 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 \u003c\/span\u003e\u003cspan\u003etoggle can also be engaged by a Red Remote.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLOW-CUT TOGGLE\u003c\/span\u003e\u003cspan\u003e - 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\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eJACKS\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eINPUT - Lower jack on the right side of the pedal.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOUTPUT - Jack on the left side of the pedal.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRED REMOTE - Upper jack on the right side of the pedal with a red washer.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe 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\/span\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\u003cstrong\u003eVERSION HISTORY\u003c\/strong\u003e\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKilt V1\u003c\/span\u003e\u003cspan\u003e = Larger enclosure; two foot switches; independent boost on right side; four knobs\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eand four toggles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKilt V2\u003c\/span\u003e\u003cspan\u003e = Smaller enclosure; three knobs and three toggles; Red Remote system added.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eKilt 10 \u003c\/span\u003e\u003cspan\u003e= 10 Year Anniversary Special Edition Mod released in 2025. Polished aluminum finish with Expandora-style knobs. Updated Scottish flag-inspired icon \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003e\u003cstrong\u003eTHIS PEDAL MEASURES 2.6” X 4.8” X 1.6” AND CONSUMES 64mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":47393490305124,"sku":"K10","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/Kilt-10year3.png?v=1764024060"},{"product_id":"big-muff-2","title":"EHX by JHS – BIG MUFF 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor 50 years, a forgotten schematic sat buried in dust and time – a concept waiting to be born. Now, its moment has come. The \u003c\/span\u003e\u003cspan\u003eEHX Dual Op-Amp Big Muff 2\u003c\/span\u003e\u003cspan\u003e is here, delivering a completely new Big Muff voice unlike anything you’ve heard before.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eTHE PAST \u0026amp; PRESENT\u003c\/strong\u003e\n\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 2021, while on a research trip that led to the creation of the book \u003c\/span\u003e\u003ca href=\"https:\/\/thirdmanrecords.com\/products\/made-on-earth-for-rising-stars-the-electro-harmonix-story\"\u003e\u003cspan\u003eMade On Earth For Rising Stars: The Electro-Harmonix Story\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e, we had the privilege of digging through decades of materials, memorabilia, devices, and prototypes in the workshop of Bob Myer, the inventor of the EHX Big Muff. It was there we discovered it: a loose sheet of paper with a hand-drawn schematic labeled \u003c\/span\u003e\u003cspan\u003e“BIG MUFF USING (2 DUAL OP AMPS)”\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis wasn’t just another circuit. It was Bob Myer’s own attempt to reimagine the original transistorized Big Muff circuit using the new cutting-edge Op-Amp technology that had emerged later in the 1970s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor nearly 50 years, this “Lost Big Muff” design sat forgotten in his notebooks — until now.  We found it. We built it. And have brought it to life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\n\u003cstrong\u003eWHAT MAKES THE BIG MUFF 2 DIFFERENT?\u003c\/strong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOnce discovered, we breadboarded the circuit exactly as Bob drew it, and immediately knew we had something worth making.  We found that Bob’s design is unique when compared to the now famous late 70s Op-Amp Big Muff designed by Michael Abrams. Different clipping arrangement, an extra gain stage and various other elements that made this lost version extremely special. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhere the original Big Muff delivers that iconic \"sweet violin-like sustain,\" Bob's two dual Op-Amp approach pushes into more aggressive, cutting territory. It's the Big Muff DNA with a sharper edge, more volume, and the most pronounced low-end and midrange of any EHX Big Muff ever. It expresses Bob's vision of aggressive sustain and cutting presence, with the familiar Big Muff control layout you know and love.  It’s the sound of what almost was.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMike Matthews himself, after hearing our prototype, admitted it had \"something special\" even though it strayed from the traditional Big Muff voicing he typically preferred. Sometimes the best creations are the ones that don't follow the rules.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eVOLUME\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e - \u003c\/strong\u003eControls the output volume. Left is less, right is more.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eSUSTAIN\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e -\u003c\/strong\u003e Controls the amount of fuzz, which increases the sustain when turned up. Left is less, right is more.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eTONE\u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e -\u003c\/strong\u003e Controls the overall tone. Left is darker, right is brighter.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003ePOWER \u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e- \u003c\/strong\u003e9VDC center negative, 18mA\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eAN ALTERNATE TIMELINE BIG MUFF\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe collaborative result between JHS Pedals, Electro-Harmonix, and official EHX archivist Daniel Danger represents more than just a new pedal — it's a piece of lost music history resurrected for today.  \u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 dir=\"ltr\"\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eTHE STORY CONTINUES\u003c\/strong\u003e\n\u003c\/h4\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis pedal is directly connected to the book \"Made On Earth For Rising Stars: The Electro-Harmonix Story,” \u003c\/span\u003e\u003cspan\u003ethe definitive visual history of Electro-Harmonix, spanning 1968 through the 2020s.  A historic collaboration between \u003c\/span\u003e\u003cspan\u003eEHX\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eJHS Pedals\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThird Man Books\u003c\/span\u003e\u003cspan\u003e, and artist\/archivist \u003c\/span\u003e\u003cspan\u003eDaniel Danger\u003c\/span\u003e\u003cspan\u003e.  This expansive book explores everything from Mike Matthews himself to the production floor — from circuit designers to the manic pursuit of curing death, from flying machines to disco towers.  Packed with never-before-seen prototypes, unreleased pedals, vintage documents, and rare photographs, this book captures the chaos, creativity, and genius that made EHX a legend — from the circuit bench to the world stage.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom Bob Myer's original forgotten workshop to your pedalboard — the Big Muff 2 is the sound of history reborn.*\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":47499912347748,"sku":"BM2RED","price":249.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/Big-Muff-2-RED_r1.png?v=1772036379"},{"product_id":"double-dragon","title":"DOUBLE DRAGON","description":"\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eIn a world of perfect digital octaves, we looked backward. \u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Double Dragon Lo-Fi Octave Device is built on shoulders of 40-50 year old analog octave divider technology — the same technology that gave us the MXR Blue Box, DOD Octoplus, the Boss OC-2, Ibanez OT10, Electro Harmonix Micro-Synth, and other circuits that synth designers helped inspire. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePre-DSP. Pre-precision. All analog warmth. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePlay single notes and you have a riff machine. \u003c\/span\u003e\u003cspan\u003ePlay a chord and the circuit starts to stutter, jump, and fight itself, making something new.\u003c\/span\u003e\u003cspan\u003e It's not trying to replicate you perfectly — it's trying to play along with you. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt's alive!\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eTHE SOUND \u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Double Dragon is an all-analog monophonic octave-down and up effect. The lower octave is the foundation — thick, analog, with the characteristic behavior that made vintage octave circuits legendary. The upper octave is pure bonus: an octave-up distortion that lands somewhere between an Octavia and a Superfuzz. Gritty. Usable. With a mid-range sting that cuts through the mix. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTurn on the Double Dragon and you can't help but start playing riffs. Your guitar feels twice the size. You fill out the space that used to need a band. \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eA MILESTONE\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn our entire JHS Pedals history, this is our first octave device. We've done octave fuzz but we never landed on a sub octave circuit that felt at home in our brand — until now. Weird, wild, and lo-fi. We're glad we waited to get it right. \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eWHO’S IT FOR?\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor riff lovers. For anyone who's ever listened to Led Zeppelin and wanted that synchronized guitar-and-bass weight under their fingers. For fans of The White Stripes, Hendrix, and Rage Against The Machine, Muse, Royal Blood. Also — For bass players who know what a vintage OC-2 can do to your basslines. For creative players who want something more than digital precision and clinical accuracy. For people who want a collaborator, not just a tool.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVOLUME controls the master output level with extra boost available. Turn the octaves off, dry full on, and you have an amazing always-on preamp. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDRY mixes in your clean signal to the octave effects — all the way up is where we suggest you start, all the way down goes fully wet for glitchy vintage synth textures. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOCT− controls the lower sub-octave mix. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOCT+ controls the upper octave and distortion (activated by right footswitch).\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLeft footswitch is ON\/OFF. Right footswitch engages OCT+ circuit. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe main effect must be on for OCT+ to function — it's the way it's designed — not a limitation. For octave-up only, engage and turn OCT− down. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003ePAIRS WELL WITH \u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOverdrive after (especially Tube Screamer - mid heavy types). Fuzz after for chaos. Pitch vibrato for a more synth-like texture. The Double Dragon's tracking quirks become even more alive and useful when layered with other effects. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eSPEC­I­FI­CA­TIONS\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e- Top-mount­ed jacks \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e- 9VDC Cen­ter Neg­a­tive\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e- Silent Buffered Bypass Switching\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTHIS PEDAL MEASURES 2.6” X 4.8” X 1.6” AND CONSUMES 75mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":47964237430884,"sku":"DD","price":179.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/Double-Dragon.png?v=1772055058"},{"product_id":"coyote","title":"COYOTE","description":"\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eTHE FUZZ YOU DON'T HAVE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA new breed of octave fuzz based on a lost circuit that belongs to no known lineage. Three effects all contained across one knob. A tribute to an unknown pioneer who deserved to be famous.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eAn octave fuzz topology that has never been replicated for production — until now\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eOne knob sweeps through three distinct effects: swell, fuzz, and octave\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eExceptional touch sensitivity and volume-knob cleanup — rare for any fuzz, unheard of in an octave fuzz\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEvery octave fuzz you've ever played traces back to just a handful of circuits: the Octavia, the Super Fuzz, and the Tone Machine. The Coyote doesn't originate from any of these classic topologies. The Coyote is a complete replication of the obscure and very difficult to find Moonrock Fuzz by G.S. Wyllie, a reclusive North Carolina builder who sandcast his own enclosures, etched his own boards, and designed a unique fuzz utilizing a transformer in an unconventional way that sounds like nothing else — the product of wild experimentation combined with solid electrical engineering fundamentals. Here's what makes it strange: the circuit has a transformer, but it's not doing what transformers do in other octave fuzzes. It's not creating the octave at all. Glenn put it somewhere else entirely, where it acts more like an inductive element, shaping how the fuzz stage responds and contributing to the swell, fuzz, and octave character of the control. We've never seen anyone do this. The result is a texture and feel that doesn't exist anywhere else. He never mass-produced them. He passed away in 2014, still building. This is our tribute to Glenn and the wily circuit he left behind.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eONE KNOB. THREE WORLDS.\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Swell \/ Fuzz \/ Octave control is the heart of this pedal. It sweeps continuously through three distinct zones — each one a different effect.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSwell\u003c\/span\u003e\u003cspan\u003e — At its lowest setting, notes bloom in with a gated, reversed-tape quality. A slow, breathing attack that rises up from silence. The final stage of the circuit is allowed to turn on gradually, easing the signal in and creating a natural bloom that responds to your picking dynamics. We've only ever seen one other pedal attempt this — a thousand-dollar vintage piece with a dedicated footswitch for it. Glenn built it into a portion of the controls sweep.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFuzz\u003c\/span\u003e\u003cspan\u003e — At noon, a fully realized fuzz tone. Not a Fuzz Face. Not a Big Muff. The texture sits in Tone Bender territory — rich low end, aggressive mids, the kind of fuzz that handles chords. Shoegaze. Psychedelic rock. Full and powerful. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOctave\u003c\/span\u003e\u003cspan\u003e — Fully clockwise, the circuit shifts into aggressive octave-up territory. Intentionally uneven clipping emphasizes even-order harmonics, especially the second harmonic, pushing it above the fundamental to produce that snarling octave-up sound. This is pure Hendrix territory — and Glenn, who met Jimi several times in Greenwich Village, was always pointing here. He landed on it perfectly, his own way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe transitions between zones are continuous. Explore everything in between.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eWHAT SURPRISED US\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRoll back your guitar's volume knob and this pedal transforms. At lower settings on the Swell \/ Fuzz \/ Octave control, the Coyote becomes remarkably touch-sensitive — light picking gives you warm, controlled fuzz while digging in triggers the swell. It cleans up better than any octave fuzz we've ever played. That kind of dynamic response is almost unheard of in this category.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eHOW TO USE IT\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePut it first in your chain. Play it into another overdrive or an overdriven amp — that's how almost every iconic octave fuzz tone was created. Clean amps work, but the sound in your head usually has some overdrive after the fuzz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNeck pickup, above the twelfth fret — that's where the octave effect is most pronounced. Humbuckers push the swell and octave harder. Single coils give more clarity. Both sound great.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eWHO THIS IS FOR\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis pedal isn't for everyone, and we're good with that. If you love Hendrix, Jack White, Gary Clark Jr., Beck, Black Keys, or the octave fuzz on John Mayer's \"Belief\" — you already know you want this. If you're a doom player, a riff rocker, a blues explorer. If you've tried every fuzz on the market and you're still looking for the one you haven't played — you're the Coyote. You're the fuzz scavenger. We found something for you.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\n\u003cstrong\u003eTHE BUILDER\u003c\/strong\u003e\u003cb\u003e\u003c\/b\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGlenn S. Wyllie grew up in New Jersey, learned to read schematics from his electrical-engineer father by age twelve, and built his first fuzz pedal at seventeen after hearing \"Satisfaction.\" He met Jimi Hendrix several times in Greenwich Village during that era — and never stopped chasing that sound.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHe settled in the Appalachian foothills of North Carolina — woodstove heat, a dog named Simon, a Hendrix poster on the door, and metal guitar shapes hanging from the trees in his driveway. He worked at a local music store, played guitar in a band called Muletrain, and built pedals one at a time for anyone who found him.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHis work ended up on recordings and stages with Paul Simon, Bruce Springsteen, Stevie Wonder, David Byrne, Joan Baez, and dozens more — played by NYC guitarist Mark Stewart, who called Glenn an \"unacknowledged American master.\" Glenn should be talked about alongside Mike Fuller, Paul Cochrane, AnalogMan Mike, Zachary Vex, and Dave Barber — the pioneers of boutique. But nobody knows his name.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWe couldn't find his family to tell them about this project. We tried. He's as elusive in death as he was in life. A true coyote.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eCONTROLS\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVolume\u003c\/span\u003e\u003cspan\u003e — Controls the output volume. Left is less, right is more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSwell \/ Fuzz \/ Octave\u003c\/span\u003e\u003cspan\u003e — Sweeps through three distinct zones. Fully counterclockwise: gated swell with blooming, reversed-tape character. Noon: full, rich fuzz. Fully clockwise: aggressive octave-up with snarling harmonics.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cstrong\u003eSPECIFICATIONS\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eTrue Bypass\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" aria-level=\"1\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003e9VDC Center Negative, 5mA\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTHIS PEDAL MEASURES 2.6\" X 4.8\" X 1.6\". DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.\u003c\/span\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":48052098269284,"sku":"CT","price":149.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHS-Pedals-Coyote_Front.png?v=1774897371"},{"product_id":"3-series-bit-crusher","title":"3 SERIES BIT CRUSHER","description":"\u003cp\u003e\u003cspan\u003eThe JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, careful quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 3 Series Bitcrusher was built from scratch to do two things with precision: reduce bit depth and reduce sample rate, with a filter to shape the result. The Crush knob controls bit depth, moving from full 24-bit resolution counterclockwise down to 1-bit clockwise,from unprocessed through grainy and textured, into square-wave aggression and gated digital distortion. The Sample Rate knob works counterclockwise from a clean 32.768 kHz down to 2.5 Hz, introducing aliasing and artifacts that range from subtle harmonic shifts to metallic, ring-mod-like chaos and full digital collapse. The Filter knob shapes both, fully clockwise is unfiltered. Turn counterclockwise to sweep the corner frequency and increase the filtering. The Type toggle selects the filter character: down is a second-order low-pass with no resonant peak, inspired by vintage synthesizers like Oberheim, full-bodied and well-suited to bass guitar. Toggle up is a high-pass and low-pass swept in succession, focusing a band of strong mid-range frequencies that evokes the small speaker sound of a handheld game console. Under the hood, this pedal applies a zero-hole filter,a theoretical signal processing concept that had never found a practical application until it became part of this circuit.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe JHS Pedals 3 Series Bitcrusher runs on 9VDC center negative power and consumes 65mA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLENGTH 4.42\" X WIDTH 2.38\" X HEIGHT 1.22\"\u003c\/span\u003e\u003c\/p\u003e","brand":"JHS Pedals","offers":[{"title":"Default Title","offer_id":48366855225444,"sku":"3SBC","price":99.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0610\/7122\/9028\/files\/JHS-Pedals-3-Series-BitCrusher-Front.png?v=1779893287"}],"url":"https:\/\/jhspedals.mom\/collections\/fuzz-distortion.oembed","provider":"JHS Pedals","version":"1.0","type":"link"}