The Fuzz Face was released in 1966 by Dallas Electronics Ltd. and is one of the most iconic fuzz pedals ever made. This British fuzz is recognized instantly by its "Smiley Face" enclosure that was developed after Mr. Arbiter used the circular base of a microphone stand as inspiration. It is one of the first things we think of when we hear "fuzz pedal" because it lived at the feet of the great Jimi Hendrix. The Fuzz Face was released just a few months after the Sola Sound "Tonebender" 1.5 hit the market, and upon investigation, it is an almost identical circuit. The original Fuzz Face manual even said that it was a "battery-powered TONE-BENDING unit," clearly showing its inspiration. Though the circuit is much like the Tonebender MK1.5, the tone is very different. It possesses a very full and thick fuzz sound with roaring low-end frequencies. I can't help but think of how this made the three-piece Jimi Hendrix Experience sound larger than life. The most amazing feature of this fuzz is its ability to change into something magical as you roll your guitar volume down. Many of Hendrix, as well as players like Eric Johnson's clean tones, are in fact, the Fuzz Face with the fuzz control maxed, but the guitar volume turned way down. This setting results in an unreal and almost mythical light overdrive that you have to feel and hear to understand. As with most classic fuzz pedals, it loves a dirty amp or overdrive afterward in the signal path. Staying true to the original, I used high-grade carbon composition resistors, oversized capacitors, and two germanium transistors that I hand-matched to the circuit.

Each small batch of Fuzzes will use different transistors as it is challenging to find reliable sources of these devices in large quantities. The circuit uses vintage positive ground voltage, so do not daisy chain your power with other pedals. Inside the pedal is a battery snap or use any isolated power supply with a standard polarity power cable like your other pedals as I have wired it internally to work that way. The Fuzz is identical to the original except that I adjusted the taper of the pots to feel more intuitive. I also added a single power supply filter capacitor to help with noise and adjusted one resistor value for more volume. The switching is true-bypass. Each pedal in this batch is built-in identical form, but because of parts tolerances and the slight variance in the transistors, they will all be a bit different while still being the same. Be sure to always have this pedal first in your signal chain; the guitar must be plugged into its input due to the impedance it requires on its input, no exceptions. 

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1966 Series Fuzz

Das JHS Pedals Crimson ist ein exakter Nachbau eines Mike Matthews Red Army Overdrive by Sovtek. Das ist der erste Big Muff, der jemals in Russland produziert wurde und wahrscheinlich auch die seltenste Version aller Zeiten. Das Pedal wurde nur zwischen 1991 und 1992 in kleinen Stückzahlen produziert und ist heute fast unmöglich zu bekommen. Mit dem JHS Pedals Crimson haben Gitarristen nun endlich die Möglichkeit einen einzigartigen Teil der Fuzz-Geschichte zu besitzen. Die Regelmöglichkeiten sind mit Volume, Tone und Distort denkbar einfach. Volume kontrolliert das Output Level, Tone bietet einen schönen Sweep von hellen zu eher dunklen Sounds, damit das Crimson ohne Probleme mit allen denkbaren Tonabnehmern und Verstärkern harmoniert. Distort regelt den Grad an Verzerrung - je weiter man den Regler aufdreht, desto mehr Fuzz erhält man. Über einen Schalter an der Seite lässt sich der einzigartige 'JHS Mode' aktivieren, der dem Sound mehr Gain und einen satten Boost in den Mitten gibt. Wer den Sound der Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes und Dinosaur Jr. sucht wird das JHS Crimson lieben!

The JHS Pedals Crimson is an exact replica of the Mike Matthews Red Army Overdrive by Sovtek. This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. The JHS Pedals Crimson now allows you to own a unique part of fuzz history. The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a 'Mode' button that lets you access a never-before-heard  'JHS Mode'. Push that button for a mid frequency boost that forces your sound through the mix. If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you.

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JHS Pedals Legends of Fuzz Smiley, Supreme, Bender & Crimson - Review by Muzikus [CZ], [12-2020]

JHS Legends Of Fuzz Series - JHS vs Original Demo Video - Reverb

JHS Legends Of Fuzz Series - Demo Video - Pedal of the Day

JHS Legends Of Fuzz Series - Demo Video - Sweetwater

JHS Legends Of Fuzz Series - Official Demo Video

JHS Pedals Legends of Fuzz Smiley, Supreme, Bender & Crimson - Review by Gitarist [NL], [04-2021]

JHS Pedals Legends of Fuzz Smiley, Supreme, Bender & Crimson - Review by Gitarre&Bass [DE], [10-2020]

JHS Pedals Crimson - Demo / Review Video - Living Room Gear Demos

Crimson - 1992 Russia

Nutze den Red Remote mit ausgewählten JHS Pedals um die um ihre On-Board Toggle Funktionen ohne Bücken anzuwählen. Verbinde ihn mit einem einfachen Instrumentenkabel und er agiert als On-the-Fly Umschalter zwischen den Pedal Modi.

Use the Red Remote with select JHS Pedals to remotely activate the on-board toggle found on the pedal itself. By connecting the Red Remote to a Red Remote equipped pedal with any 1/4” instrument cable, this essentially acts as an on-the-fly switcher to give you more tonal options in any setting.

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Red Remote

Hier hast du JHS’ Low-to-Medium Gain Pedal. Das Double Barrel gibt dir flexiblen, transparenten Overdrive mit leichtem bis medium Gain. Hier gibt’s keine brutzelnde Verzerrung, aber Overdrive mit Charakter, der sich gut stacken lässt und viele Bedürfnisse abdeckt. Die Rechte Seite ist der brandneue Moonshine V2, eine massiv getweakte Version des legendärsten aller Overdrives. mit dem neuen “Clean” Regler um dein trockenes Signal stufenlos zumischen zu können. Auf der linken Seite findest du den #1 Bestseller von JHS - den Morning Glory Overdrive. Auch hier hast du einen transparenten offenen Overdrive-Schaltkreis. Wenn du die beiden stackst, passiert aber erst wirklich die Magie… Sounds die originell und frisch sind, und dank des Order Schalters, der dich entscheiden lässt welche Seite zuerst in der Kette kommt, noch mehr Flexibilität. Schlicht eines der besten 2-in-1 Pedals die je gebaut wurden…

This is JHS’ "Everything low to medium gain" pedal. The Double Barrel is for the player who needs a versatile but transparent overdrive at medium and light gain levels. You won’t find face melting distortion here, but you will find overdrive with the character and stacking abilities to cover most any tonal need. The right side is JHS' Moonshine V2 which is a highly unique and massively tweaked version of the most famous overdrive ever created housed in a little green enclosure. It also features the new “Clean” knob to blend in the perfect amount of clean signal with your overdrive signal. The left side is JHS’s #1 selling “Morning Glory” overdrive. Transparent and open tones are what lurk inside this circuit. When these two circuits are stacked, something magic happens. Tones that are original and fresh come with ease, as well as added flexibility, due to the “order switching” toggle that lets you decide what pedal comes first in the signal chain. This is one of the greatest 2 in 1 pedals ever made...

JHS Pedals Double Barrel V4 - Video Demo by ProGuitarShopDemos

JHS Pedals Double Barrel V4 - Video Demo by Mike Hermans

JHS Double Barrel V4 - Review Tonereport

Double Barrel V4

In den 1990er Jahren machte ein Effektpedal-Hersteller aus England auf sich aufmerksam - mit Ideen abseits des Mainstreams und Sounds, die noch heute als 'legendär' bezeichnet werden. Innerhalb kürzester Zeit fanden sich die Pedale in den Setups von The Edge (U2), Jimmy Page, Radiohead, Kevin Sheilds (My Bloody Valentine), Jeff Tweedy (Wilco), Gary Moore und vielen anderen und die Preise auf dem Gebrauchtmarkt steigen heute teilweise über 800 $. Mit dem Cheese Ball bietet JHS Pedals jetzt eine akkurate Nachbildung der legendären Lovetone Big Cheese Schaltung und das Pedal hält was der Name verspricht! Neben den klassischen Reglern für Volume, Gain und Tone kommt das Effektpedal mit einem 4-Wege Mode-Schalter, der zwischen verschiedenen Tone- und Gain-Settings wählt. In der 'Off' Position wird der Tone-Regler deaktiviert und das Pedal erzeugt einen hellen, bissigen Fuzz / Distortion Sound. In der '1' Position liefert der Cheese Ball einen Sound mit Mid-Scoop, der an satte Big Muff Verzerrung erinnert. Position '2' bietet einen Mid-Boost der sich durch jeden Mix schneidet und Position '3' kommt mit einem aggressiven Gated Fuzz Sound, der spuckt, beißt und schreit!

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 Sheilds (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 JHS Pedals 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.

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