JHS angry Charlie v3
$199.00
The Angry Charlie has become a staple of the JHS line over the years, and it’s a force to be reckoned with in the high-gain pedal territory. Its ability to convincingly and accurately breathe JCM800 tones into any rig has made it a popular choice for guitarists of all genres. And unlike many other British amp-in-a-box pedals, the Angry Charlie V3 sports a 3-band tone stack, just like the Marshalls, helping nail those warm yet searing tones and boundless sustain. If you are a glutton for high-gain overdrive/distortion that has a British flavor, the Angry Charlie V3 will change your life. Well, your gear life.
FURIOUS-SOUNDING AMP IN A BOX
Turn the Drive control down, and you might be surprised how bluesy and vintage-like this pedal sounds. But through its different versions, our Angry Charlie distortion has always been one of the more aggressive British amp-in-a-box pedals out there. Either way, you’ll be injecting your amp with the grit and attitude of the UK amplifier heads that gave rock ‘n’ roll its teeth.
- Turns any amp into a screaming Marshall stack
- Go from bluesy Hendrix-like breakup to high-gain Brit tones with a twist of the Drive knob
- Drive and Volume control interact the same as a master volume amp head
- Back off your guitar’s volume to control your gain levels without losing clarity
MARSHALL-STYLE TONE STACK
After a couple of extremely well-received versions of the Angry Charlie, we realized that to really nail the ultimate Marshall-style tone, we had to add Marshall-style control, so we gave you a finely tuned Marshall-style 3-band EQ. Enjoy!
- Fine-tune your tone with controls for Bass, Middle, and Treble
- Active controls boost and cut their selected frequencies
VERSION HISTORY:
V1 = Larger enclosure and three controls; no Presence Control.
V2 = Changed to current production size enclosure; diamond knob layout; Presence
Control added.
V3 = Color change to red; added three-band tone stack; five controls total; U-shaped knob layout.
THIS PEDAL USES 9V TO 18V NEGATIVE CENTER. THIS PEDAL CAN BE RUN AT 18V FOR MORE HEADROOM AND GREATER DYNAMICS. DO NOT USE MORE THAN 18V DC. MEASURES AT 2.6" X 4.8" X 1.6".
JHS Bonsai
$249.00
In the late 1970's the overdrive pedal was arguably perfected when Japanese engineers designed the sound that we now know as the heart and soul of so many of our favorite artists, recordings and sounds. Players ranging from The Edge, Trey Anastasio, Buddy Guy, Kirk Hammett, John Mayer, SRV, Carlos Santana and thousands more from every possible genre have utilized and depended on this classic iconic green box. If a single effect pedal was chosen to board a Voyager 3 mission and be solely responsible for showing the universe the sound of overdrive, it would undoubtably be Tube Screamer. It is probably the most produced and sold pedal in the history of guitar pedals! The Bonsai is our tribute to one of the greatest pedals ever created.
Following in the steps of our Muffuletta (released 2015), the Bonsai utilizes a simple rotary knob to switch through nine classic, vintage, rare, or hard to find variations of the Screamer. Creating the Bonsai became an archeological dig of sorts that sent us deep into the history of this circuit by examining dozens of versions, variations and replications. At the end of it all, Josh chose nine of his personal and favorite units and we painstakingly replicated every nuance and aspect of each pedal. One of the most challenging parts of this project was accounting for component drift as many of these pedals were decades old and the internal components had strayed from their original values. Each pedal was individually replicated using our Audio Precision analyzer and various other methods that allowed us to perfectly replicate every aspect of the sound and feel of the unit. It's important to know that the Bonsai is not a "box of mods," it is exact replications of these nine units all housed in one box! The Bonsai is exact replication, not emulation. When you choose a mode on the Bonsai rotary, you are actually activating components specific to each mode and playing the unit that Josh chose along with all the quirks, drift, vintage mojo, and individuality that a vintage pedal has.
The Bonsai Modes
OD-1 - 1977
An overall brighter and slightly higher gain mode that does not utilize the Tone knob. This mode also inverts signal just like the original and has asymmetrical clipping. The OD-1 is magical at boosting other drives or amps into singing saturation.
TS-808 - 1979
The classic low gain with that signature pronounced mid range.
TS-9 - 1982
Nearly identical to the TS-808 but with a slightly more pushed low-mid range.
MSL, POWER OR L SERIES - 1985
Though metal is in the name, this sound doesn’t quite inspire the modern metal djent we think of. Still it has a higher gain sound with a more low end and an overall more gooey feel.
TS-10 - 1986
Made famous by John Mayer, this model is a slight upgrade from the TS9 for the late ’80s. Bluesy, crisp, more low end roll off and low gain.
EXAR OD-1 1989
The EXAR is a Polish made TS-style pedal that has a slightly different drive character with a little more gain than the classic screamers as well as a slightly more transparent feel.
TS-7 (+MODE) - 1999
The hot mode on this version gives you the highest gain sound in the Bonsai. More low end and dirt fill out the tone to have you shredding away.
KEELEY MOD PLUS - 2002
Robert Keeley’s classic mod tightens up the tone on the original giving you smoother mid range and high frequencies, and increased bass response.
JHS STRONG MOD - 2008
Our own mod we’ve been doing since 2008 is much cleaner and overall more powerful. The mode has more pronounced higher and low end drop offs.
With the JHS Pedals’ Bonsai you can get the classic sounds of nine Tubescreamers in one pedal. Let the Bonsai help you find your overdrive zen.
THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 20 MA, AND MEASURES 2.6"X4.8"X1.6".
THE WORDS IBANEZ, BOSS, ROLAND, TUBESCREAMER, TS9, 808, EXAR, AND KEELEY, AUDIO PRECISION MAY BE REGISTERED TRADEMARKS. THE JHS PEDALS BONSAI IS IN NO WAY AFFILIATED OR ENDORSED BY IBANEZ, BOSS, ROLAND, TUBESCREAMER, TS9, 808, EXAR, KEELEY, AND AUDIO PRECISION.
JHS Charlie brown v4
$199.00
Every guitarist loves the sound and feel of a Marshall JTM45 amp head. And with the JHS Pedals Charlie Brown V4 amp-in-a-box, you can put that same thick, chewy, old-school rock tone onto your pedalboard. In fact, we even outfitted the pedal with a Marshall-style 3-band tone stack to achieve a tone that would please Clapton himself. Whether you’re trying to replicate classic Clapton, the character of Hendrix’s cranked walls of Marshalls, or Gary Moore’s higher-gain sound, they’re all waiting for you in the Charlie Brown V4. Grab one today, and turn your rig into a legendary JTM45.
VINTAGE BRITISH CRUNCH FOR YOUR PEDALBOARD
More and more, guitarists like you are leaning on pedals to supply their overdriven tones. They need stompboxes that will completely change the character of their amplifiers on a dime. For vintage crunch and British attitude, there simply isn’t a better pedal than our Charlie Brown V4.
- Turns any amp into a gritty JTM45 stack
- Go from sixties-style crunch to thick and liquid rock tones with a twist of the Drive knob
- Drive and Volume control interact the same as a master volume amp head
- Back off your guitar’s volume to control your gain levels without losing clarity
MARSHALL-STYLE TONE STACK
To really nail the ultimate JTM45 tone, we added Marshall-style control to the Charlie Brown V4 overdrive. Now, not only will this pedal mate perfectly with your current clean amp tone, but you’ll be able to find the exact JTM45 sound you need for your application. And because the Charlie Brown reacts just like a classic tube amp, it’s even a perfect candidate for stacking with another overdrive.
- Fine-tune your tone with controls for Bass, Middle, and Treble
- Active controls boost and cut their selected frequencies
- Stacks beautifully with overdrive pedals for even more shades of grit
VERSION HISTORY
V1 = Larger enclosure; no Charlie icon.
V2 = Changed to current enclosure size; diamond knob layout.
V3 = Slightly different Drive Control and gain structure than V2.
V4 = Color changed to yellow; added three-band tone stack; five controls total; U-shaped knob layout.
THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 9MA, AND MEASURES 2.6" X 4.8" X 1.6"
JHS cheese ball
$179.00
Long 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!
The 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.
The 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.
Fairfield circuitry shallow water
$289.99
Poolside conversations while staring at your own reflection. The depths of which shall never be known, at least not for another couple thousand years. So it goes.
Before the reflection, is the experience. Before phenomena, or even noumena, is that which is undefinable. That which has never been heard, that which will never be heard again and that which has always been heard but never listened to.
K-field (Simulation mathematics), an undefined, two-dimensional, non-linear field where past and future forces interact at irregular intervals. Shallow Water generates this k-field by randomly modulating a short time delay to create unexpected shifts in pitch. The result is this non cyclical vibrato/chorus/flanger-type thing favouring old tape flavours.
The water is shallow on this side of the pool. Do not dive and you will not drown.
electronic audio experiments model feT raw aluminum
$249.00
The Model feT is a transistor-based preamplifier designed around the legendary Sunn Model T amplifier. Those who have played the original know that while it excels at heavy tones when pushed, it is far more than just an amp for stoner rock and doom metal. In fact, on its own it is a fantastic mid-gain amplifier with a tone that is dark, yet clear and present—making it an exceptional pedal platform.
Most famous Model T tones come from putting a distortion or fuzz in front of the amp. Thus, the Model feT is designed to sound good on its own and with other pedals stacked in front. This pedal goes beyond the standard triode-to-JFET emulation approach with the inclusion of an emulated power amp. This broadens the range of gain and—in the true spirit of the original amp—allows for massive headroom and volume output. This greatly expands its capabilities beyond a typical drive pedal: the Model feT can be used directly into a power amp, cab simulation, or DAW.
EarthQuaker Devices Ledges
$199.00
Ledges is a compact, three-mode reverb with the ability to save and recall six presets and user-assignable expression control with loads of customizable options. If you’re craving that warm, lush reverb tone from the players and songs you love, then this is your pedal. If you want to push the limits and take it further to sonic reaches that only you can uncover, then this is also your pedal. It’s everything you’ve ever wanted and needed out of a reverb.
We created Ledges for no-nonsense musicians who need access to a wide variety of fantastic sounds and don’t want to mess with menu diving, extra footswitches, or midi controllers. Ledges offers three distinct, rich reverbs that cover all your bases - Room, Hall and the almost infinitely regenerating Plate - with user assignable expression control and six presets to easily switch between settings. Presets can even save expression pedal assignments, making it easier than ever to save and switch between the 6 best reverb sounds that are yours and yours alone.
Caroline Guitar Company Arigato
$219.00
Caroline Guitar's "ARIGATO" neither seeks to recapture the sounds of the past, nor to be state of the art. It is a snapshot of a future we were promised as children.
While capable of the airy psychedelia of classic units, this one is meant to rumble, wobble, shake, rattle, and roar. It is also capable of going fully wet for interesting vibrato sounds, max out feedback for auto wah style filter sweeps, and a wide range of responsive shades throughout each control as they interact with the others.
We’re pretty excited about this release; the first pedal Philippe ever owned was a phaser, and getting to make this feels like a homecoming. Your pedal was dreamed, designed and created at our small batch distortery™ in Columbia, S.C. Thank you for supporting our work, and putting it to good use for yours.Designer’s notes: if you and your customers have enjoyed our SOMERSAULT™ lo-fi modulator, then I think you’ll really enjoy ARIGATO. It’s built on a similar framework: an analog LFO that can do some wild stuff and push things beyond their boundaries, a mix control that can go 100% wet, and a havoc control that is all gas, no brakes. It’s an OTA based analog phaser but with a couple twists – the mode switch changes the capacitors and filter notches to more closely resemble a classic vibe pedal, giving the sweep a bit of an off-balance feel. The bypass on ARIGATO can also be a momentary bypass for instant phasing “hits” and releases. And the square wave, like the Somersault’s, can push the phasing into audible pumps and overload things. We could have tamed it for noise purposes, but we didn’t want to lose the fun. With this pedal we recommend starting with everything at 12:00 – “true north” as we’re fond of calling it – and then adjusting from there to discover how each control interacts with the others.
Alexander Jubilee Silver Overdrive
$189.99
Roaring like a British Lion from Wembley to the Sunset Strip, the Jubilee is ready to melt faces. Sure, it can do subtle but that's no fun. Crank it up and rock out.
Controls:
Loudness: Controls the output level of the pedal.
Drive: Adjusts the gain and distortion of the pedal.
Treble / Middle / Bass: Passive three-band tone stack, voiced like a British amplifier.
Power Supply:
The Jubilee requires a DC power supply with a 2.1mm pin, center negative. The Jubilee will operate on power supply voltages up to 18V and does not use a battery. The Jubilee should work fine on a multi-pedal "daisy chain" connector, but if you encounter excessive noise or hum try a separate power supply.
Alexander Forget-Me-Not
$399.00
Forget-Me-Not is a lot of things. It can be an echo, or a reverb unit. It can sound gorgeous, or incredibly broken. It can make you remember, or cause you to forget everything .Forget-Me-Not is a digital echo unit based on a fairly rare piece of rack gear. The original was designed as a reverberation unit but the implementation was a bit idiosyncratic, so the result ended up somewhere between reverb and delay. We’ve leaned into the differences between this unique approach and a modern delay / reverb unit to create something that has one foot in each world.
From the designer: Forget-Me-Not is a bit of a departure for us. No menus, no display, just lots of knobs and switches. This allows you to get your hands on everything in the pedal and focus on creating. Don’t worry, we still have MIDI, presets, expression pedal support, and all of the other modern conveniences! But we wanted to give you something that makes you feel inspired. We hope this pedal makes you as happy to play as it was for us to build.— Matthew Farrow
Buffered bypass with fading or forever trails
Feedback Swell by holding the Tap footswitch
No menus or secondary controls - everything is accessible from the face of the pedal
Mono or stereo input via TRS, supports input summing
MultiJack allows expression pedal, tap tempo, or MIDI input via TRS
Full MIDI support - every control is accessible via MIDI over TRS or USB
Digital Multi-Head Delay Line
Up to 900ms of delay time
Four delay taps with individual output level controls
Adjustable modulation engine with sine, square, random waveforms
Tap tempo with quarter, dotted 8th, 8th divisions
Four instant presets, WYSIWYG / live mode, and 32 total presets via MIDi
Mono or stereo input (TRS)
Mono or stereo output (use either TRS or dual TS)
Input Impedance: 1M ohms
Output Impedance: 560 ohms
DC 9V only, 250mA or greater
Requires isolated DC power supply
5.72” x 4.7” x 1.6” H x W x D not including knobs(145 x 120 x 42mm)
JHS Colour Box V2
$449.00
In 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.
I 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.
In 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!
On 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.
VERSION 2 EMERGES
The 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.
The most significant improvements are:
Addition of an Output transformer
Safely Passes 48V Phantom Power
EQ Shift Knobs for precision EQ control
Hi/Lo Switch for ultra clean headroom
100% available clean signal even on acoustic guitar
Silent switching, aka no "switch-pop"
Runs on standard 9V DC Neg power
FEATURES & CONTROLS
The 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.
The 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.
The 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.
In 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.
MOST POWERFUL EQ YET
The 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.
EQ Functions
Treble Knob - Cut/Boost Control +/-15dB flat at noon. CCW cuts, CW boosts.
Middle Knob - Cut/Boost Control +/- 10dB flat at noon. CCW cuts, CW boosts.
Bass Knob - Cut/Boost Control +/-15dB flat at noon. CCW cuts, CW boosts.
Frequencies controlled by EQ Shift Knobs:
Treble Shift - 2kHz to 30kHz – CCW lowers the center Freq, CW raises the center Freq.
Middle Shift - 150Hz to 2.4kHz – CCW lowers the center Freq, CW raises the center Freq.
Bass Shift - 20Hz to 440Hz – CCW lowers the center Freq, CW raises the center Freq.
The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob. The HPF is a 2nd order 6dB per octave highpass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz.
XLR AND OUTPUT
The 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.
VERSION HISTORY
V1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total.
V2 = Larger enclosure; ten knobs total; added Hi/Lo Toggle; passes phantom power. Output transformer addition.
JHS Hard Drive
$199.00
MODERN DISTORTION
The 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.
A FRESH APPROACH
A 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.
HONORING CLIFF SMITH
The 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.
“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
CONTROLS
Volume - Controls the overall volume of the pedal. Left is less, right is more.
Mid Freq - Controls which mid frequencies are boosted or scooped by the Mid control.
Drive (Distortion) - Controls the amount of drive (distortion). Left is less, right is more.
Bass - Controls the bass frequencies level. Noon is flat, left is cut, right is boosted.
Middle - Controls the mid frequencies level. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Freq control.
Treble - Controls the treble frequencies level. Noon is flat, left is cut, right is boosted.
Silent soft touch switching with a buffered bypass.
THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 78mA, AND MEASURES 2.6" X 4.8" X 1.6".
EarthQuaker Devices Data Corrupter
$249.00
The Data Corrupter is a monophonic analog harmonizing PLL with modulation. It takes your input signal and brutally amplifies it into a crushing square wave fuzz tone that is then multiplied, divided and modulated to create a wild, yet repeatable, three-voice guitar synthesizer.
The Master Oscillator is the central nervous system at the heart of the Data Corrupter’s cyberpunk hive mind. It feeds your input to the signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2) for maximum compatibility with your preferred instrument and frequency register. Once you’ve chosen your input octave, then the Data Corrupter will perform its calculations and spit out an analog synthesized frequency, which can be pitch-bent for portamento or vibrato sounds by the Frequency Modulator! From there, you can blend in one of eight Subharmonic intervals up to three octaves below the input and mix in a square wave fuzz tone for maximum data corruption.
Echopark Dual-Harmonic Boost
$219.00
$270.00
The Echopark Dual-Harmonic Boost This is our 2nd version of the Dual-Harmonic Boost. The same legendary “Dual Stacked” OD, but modified with OD Boosters on each circuit for the “Maximum” OD. The center tone pot has been replaced with a “Master Volume”, allowing you to crank both OD’s for maximum distortion, at lower volumes. Because of the insane overdrive, the DHB2 has a 3 Way “Tone Control Switch” ranging from (Far Left) Low, (Center) Med, (Far Right) High. This switch can be used to filter out unwanted frequency feedback at higher volumes, or a tone cut for playing certain styles of music. Far right knob is OD Gain BOOST 1, Far left knob is OD Gain BOOST 2. True Bypass, 2.1mm 9VDC power in, - Center (Internal 9V Battery Mounts on side).Powder coated aluminum enclosure.
HAND MADE IN USA.
electronic audio experiments limelight
$249.00
Limelight is a dual channel overdrive developed in collaboration with LA-based punk band Touche Amore. The distinctive bright, clear tones of guitarists Nick Steinhardt and Clayton Stevens form the foundation of TA’s impassioned brand of post-hardcore, letting their riffs morph effortlessly between serene clean passages and cacophonous blast beats. This pedal was originally developed to commemorate the release of their 2020 LP, Lament, but since earned its place in a wide variety of guitar rigs spanning genres.
In preparation for the recording of Lament, we worked with Nick and Clayton to create a new op amp overdrive with equal parts aggression and chime. While loosely based in the “breaker” lineage, we made significant changes to the circuit for superior articulation and a much wider range of gain. An independent front-end boost rounds out the package, perfect for adding power to clean tones or pushing the overdrive side into heavy distortion. While the primary goal was to help the band sound like their best selves, Limelight has a tone for everyone.