Products

This is the JHS Smiley Fuzz, as part of the Legends of Fuzz series. It's an ode to some of the most important fuzz guitar pedal circuits ever made! The Smiley Fuzz is based off of the Arbiter Electronics Fuzz Face. 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.  

The JHS Pedals Milkman began with a conversation between Josh Scott and Tim Marcus of Milkman Sound. Tim wanted a pedal that could pair perfectly with the tremolo and reverb on his amps, something that country and Americana players could use as their only pedal if desired. Thus the Milkman was born, a perfect combo of slap delay and clean boost that will give you just what you need and not too much. So pour yourself a big glass and tip it back because the Milkman is about to deliver! FEATURES The Milkman has two fully independent effects with the boost on the right side and the slap delay on the left. The boost is a fully clean boost that is fantastic to push your amp into natural overdrive or leave on all the time as a preamp. The slap delay has controls for Slap, Mix, Repeat, and EQ. The Slap control adjusts the time of the delay from 0ms, which can create a doubled type effect, to 250ms to give you just enough echo to get some spacious sounds. The Mix control adjusts the volume of the echo. The Repeat control adjusts the number of repeats the delay will give you. The EQ control adjusts the brightness of the repeats to give you the ability to have a darker more ambient sound or a brighter, chirpier sound that cuts through the mix. SPECS - Two fully independent effects in one small footprint.- Boost allows you to have an always-on preamp or send your amp into natural breakup.- Slap delay to give you just the right amount of echo to give your tone the cream on top.- Perfect for slide, country, rockabilly, and Americana.   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 27MA, AND MEASURES 2.6"X4.8"X1.6"

The Morning Glory is undoubtedly our most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. We worked hard to make it one of the most transparent overdrives out there. When you want to add some mid- to low-level grit to your crystal-clean tone, use your Morning Glory. When you want to boost a crunchy tone into thicker sustain, use your Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use your Morning Glory. When you need to switch between two gain levels on the fly...you get the idea.   TRULY TRANSPARENT TONE The best way to explain the Morning Glory is that it delivers all the tonal and responsive nuance that your amp is missing, and nothing that your tone already has. It’s difficult describing a pedal that can be set to have little effect on your tone. So just plug into our Morning Glory overdrive for yourself. Then you’ll understand. - Gain control sweeps from completely clean to rock ‘n’ roll- Tame high end on brighter rigs with the side-mounted bright-cut switch- Increased headroom and output for use as a full-frequency boost   ON-THE-FLY VERSATILITY An update for the Morning Glory V4 is moving the original's front-mounted bright-cut switch to the side of the pedal and replacing it with a powerful boost circuit. And by pairing your Morning Glory V4 with the JHS Red Remote (sold separately), you’re able to access the boost mid-song. It’s like having two Morning Glorys in one pedalboard-friendly package. - Switch to a more powerful sound with enhanced low end and grit- Plug in your JHS Red Remote for switching between the two voices with the tap of your toe- Handy LED changes from blue to red, indicating the status of the boost circuit   VERSION HISTORY: V1 = bigger white enclosure with black knobs; no bright-cut switch; no logo.V2 = changed to smaller current enclosure; gold powder coat color.V3 = bright-cut toggle added.V4 = 2x more headroom; Gain toggle added; Red Remote system added.   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 43MA, AND MEASURES 2.2"X4.8"X1.6".

In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI. Scott Burnham and Steve Kiraly first had the idea after playing, repairing and modifying all the available distortion pedals on the market. They wanted something that didn’t exist in the then mainstream throes of MXR, DOD and even BOSS’s product line; they wanted a pedal that could go from overdrive to distortion and then all the way to fuzz. By 1979 Scott had perfected the circuit in his RAT-infested basement workshop, and the rest is history.  The PackRat is the ultimate tribute to the 40+ years of rodent evolution and its impact on the guitar’s sound. Artists from every genre have used the iconic tones in this unassuming black box to create their sounds, including Nirvana, John Schofield, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck and Radiohead.  Building on our Multi-Mode pedal series that includes the Muffuletta and Bonsai, the PackRat uses the same unique digital runway system to direct the paths of 261 components through 40 individual switches. This means that when you choose one of the nine legendary or rare modes, you are playing fully analog circuits that perfectly replicate that mode, even down to the aging components (also known as component drift). If you purchased these nine hard-to-find pedals on the used market right now, you would pay around $4,000. When you put it that way, $249 sounds pretty reasonable, right?

JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.  This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels.   ALL THE MIDS CONTROL! A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination. The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice!  Just hit the footswitch!   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 67MA, AND MEASURES 2.2"X4.8"X1.6".

BUFFER / BOOSTER   The JHS Pedals Prestige is a booster/buffer/enhancer that will give you that “something”, the magic that you’ve been looking for. In a simple package, the Prestige can be used as an always-on preamp or buffer, or you can crank it up to send your amp into a natural overdrive that will dazzle audiences far and wide. The Prestige features one knob for volume. In the first 25%, you have a natural buffer/enhancer that is great for long cable runs or just to add a touch of brightness to your signal. At 25% to 75% the Prestige becomes a volume boost to give you a nice push for solos or to put in front of an overdrive to create more saturation. Above 75% and you’ll be sending your amp into a meaty natural breakup by pushing the tubes on your amp. This can be used as a first stage overdrive or a second stage to maintain your other overdrives’ tone while giving more of everything you love. - One knob that has plenty of tricks up its sleeve - Buffer/Enhancer for long cable runs or an always-on preamp - Booster for solos, saturating another overdrive or overdriving your amp   THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 7mA, AND MEASURES 3.6" x 1.5" x 1"

5.68 X 3.62 X 2.0 INCHES, 0.85 LBS The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.  Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.  The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.  The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.  If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.  USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.  THE SUPREME DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

JHS Pedals is proud to present the Whitey Tighty compressor, our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down. The Whitey Tighty is as simple as it gets while never getting in the way. At only 1”x3”, you’ll save so much space on your pedal board that you’ll be able to add to your wardrobe of effects with ease. And with the ability to blend in compression and clean signal, you’ll be able to dial in the perfect sound that keeps everything in place. The Whitey Tighty is a FET compressor that has three simple controls: Volume, Compression, and Blend. The Volume control gives you the ability to set your volume at unity gain or slightly boosted to make up for any perceived loss from the compression. The Compression knob controls the amount of compression for everything from a subtle smoothing of your tone to a pleasing squash that’s perfect for country, blues, pop, and rock. Use the Blend knob to dial in the right amount of clean tone along with your compressed signal. This allows you to retain some of the natural feel of your clean tone while giving you the studio-quality compression that brings your sound to the next level. Tighten up your tone with the JHS Pedals Whitey Tighty!

The BEST winged guitar on the market. Period. Built from solid Spanish Mahogany to create an light, well balanced tone monster for those looking to make it through the Winter. With a scarfed head joint to improve strength, the full gambit of pickup options from the traditional Mini to P90's and full sized Humbuckers to go from Johnny to Allen. When custom ordering, use coupon code " DEPOSIT " at checkout Standard Specs Spanish Mahogany wings, three piece Spanish Mahogany neck 24.75" scale Wenge fretboard with vintage pearloid Keystone or Dot inlays. Pickup options include Wolfetone, Lollar and TV Jones New for 2022: Rickard Banjo Tuners For additional options like slider switches etc scroll down Kauer Banshee Artists: Brad Whitford / Aerosmith Scott Holiday / Rival Sons (Go buy Great Western Valkyrie to hear LOTS of Banshee's) Tom Dumont / No Doubt - DREAMCAR Dennis Casey / Flogging Molly Gary Hooker / Brad Paisley Band Graham Whitford / Tyler Bryant Matt Schofield Walter Becker / Steely Dan R.J. Ronquillo / Thompson Square Adella / Paula Rubio

  Gripen. Swedish for awesome. Brand new, the first truly new Kauer in nearly 8 years. A joint design between Doug and Max Kauer, the Gripen is angular, cubist and modern, yet somehow still immediately identifiable as a Kauer at its core. When we started designing Gripen, we centered quickly around our neck-thru experience as a way to get away with the aggressive nature of Gripen. When custom ordering, use coupon code " DEPOSIT " at checkout Standard Specs Spanish Mahogany Neck-thru and wings 24.75" scale Wenge fretboard with Gripen specific Crown inlays Pickup options include Wolfetone, Lollar and TV Jones Hipshot locking tuners TuneOmatic / Tailpiece Plek’d in house! Kauer Gripen Artists: Tom Dumont (No Doubt) Scott Holiday (Rival Sons) Graham Whitford (Tyler Bryant)

  Gripen. Swedish for awesome. Brand new, the first truly new Kauer in nearly 8 years. A joint design between Doug and Max Kauer, the Gripen is angular, cubist and modern, yet somehow still immediately identifiable as a Kauer at its core. When we started designing Gripen, we centered quickly around our neck-thru experience as a way to get away with the aggressive nature of Gripen. When custom ordering, use coupon code " DEPOSIT " at checkout Standard Specs Spanish Mahogany Neck-thru and wings 24.75" scale Wenge fretboard with Gripen specific Crown inlays Pickup options include Wolfetone, Lollar and TV Jones Hipshot locking tuners TuneOmatic / Tailpiece Plek’d in house! Kauer Gripen Artists: Tom Dumont (No Doubt) Scott Holiday (Rival Sons) Graham Whitford (Tyler Bryant)

  Slab Spanish Cedar body and neck 24.75" Scale Wenge Fretboard over set Mahogany neck. 22 fret, 12” radius, 1 11/16” nut width. Available in 4 versions: JR (single pickup), Express (all mahogany, full pickguard), Deluxe (maple or other top, 2023 pickguard style), or Thinline (maple top, mahogany body, 2023 pickguard style) Pickup options from Wolfetone, Lollar and TV Jones All 2020+ Kauer’s are now Plek’d in house Starliner Express Artists Dennis Casey / Flogging Molly Angie Swan / David Byrne Will Swan / Dance Gavin Dance RJ Ronquillo / Nashville Session artist, Thompson Square, Ricky Martin, Stevie Wonder, Deke Dickerson and more

The DRIVE section gives you two styles of overdrive to choose from: Crunch or Lead.  The Crunch Style gives you a gritty British tube-amp combo sound.  The Lead Style gives you a warm and dark, mid-pushed overdrive.  The WET side of the pedal gives you Delays and Reverbs.  A Vintage/Modern Switch allows you to toggle between Spring & Plate reverb or Analog & Digital delay.  Use the built-in effects loop to insert effects between Drive and Wet, or run it by itself as the only pedal you’ll need!   DRIVE Channel – A pair of modified super-drives to choose from. Volume, Tone, and Drive for days! STYLE Switch – Tube-amp Crunch or Lead-channel Sustain WET Channel – three knob delay or reverb with Blend, Decay, and Time Delay/Reverb Switch – Center toggle, WET Mode Select Top-mounted jacks for effect pedal insert or split TRS Insert Switch – side mounted selector True-Bypass or Trails Switch – side mounted selector 9VDC, 100 mA, no battery option Designed and Made in the USA

The Keeley Delay Workstation is a powerful, dual DSP processor delay and reverb machine.  Combining Keeley’s unique delay and reverb patches in an incredibly small package, the Delay Workstation is an extremely creative tool. With the Delay Workstation you can combine vintage slapback and multi-head tape echoes with Spring or plate reverbs to create some instantly classic sound spaces.  You can set the Delay Workstation for warm sounding analog delays and then use the chamber or hall reverbs to create a huge warm and endless space.  Need rhythmic delays with some shimmer?  It’s here.  Always wanted to have the perfect ducking delay?  One that backs out of the way until your done with your notes, then the echoes fill in. “Ducking” is a very intelligent way for clearing the clutter in a sound that would normally be overrun with delays and echoes.   Wanna get twisted?  Try the Pitch delay into our Flanged Reverb. The Reverb side of the Delay Workstation contains all of the most common reverbs and some delays. The Morph control allows users to put creative twists on the reverb patches like spring tension, shimmer, and random flanging.  There are two delays included in the reverb bank.  You can use these to setup very cool ping-pong delays and many other creative rhythmic patterns. Two banks of eight legendary effects.  Super Fidelity.  Super Compact. The Delay Workstation has on-board tap tempo on the Delay side and external expression control on the Reverb side. Effects Include: Slapback w/reverb Tape Delay w/tone control Multi-Head Echo w/3 head control Analog Delay w/dynamic modulation Digital Delay w/inverse dynamic modulation Subdivided Delay w/dotted eighth, eighth, triplet, sixteenth Ducking w/compression ratio Pitch Shifting delay with w/octave up/down control Spring Reverb w/tension control Chamber Reverb w/filter control Hall Reverb w/tone control Plate Reverb w/tone control Shimmer w/octave up control Flanged Reverb w/vibrato or random modulation