Worship bass dual signal

Helios Overdrive - Gold Series

Tank B

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Colour Box V2

Bloom v2 MIDI

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The Year of the Rat (1985)

Buffered Splitter

Summing Amp

Polytune 3 Noir

DC 7

Worship bass dual signal alernative set

Cannibal Unicorn

V1 2022build

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CBJ95 CRY BABY JUNIOR WAH

Faux Tape Echo v2

Julianna Onyx

TS-808 Tubescreamer

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AC10

Bonafide Buffer

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

Wenn du jemals einen originalen Marshal JTM45 gehört hast, dann weißt du, warum man ihn die Stimme des Classic Rock & Roll nennt. Die klassischen JTM45er sind vollgeladen mit warmem tonalen Charakter, der eine Strat singen und eine Paula schreien lässt. Der JHS Charlie Brown ist so designt, dass er jeden guten Amp in eine Replik dieses legendären Amps verwandelt. Der Charly Brown V4 baut auf der Popularität der V3 auf und behält Herz und Seele seines Vorgängers bei, gibt dir aber mehr Flexibilität und Optionen. Wenn du auf der Suche nach einem Classic Rock Overdrive bist, der sich richtig anfühlt, klingt, riecht und schmeckt, bist du hier am Ziel angekommen!

If you’ve ever heard an original Marshall JTM45 then you know why it’s the voice of classic rock & roll. The classic JTM45’s are loaded with warm, rich character that makes a Stratocaster sing and a Les Paul scream. The JHS Charlie Brown is voiced to transform any good amp into a living, breathing replica of the tone that built an era. The Charlie Brown V4 builds on the popularity of the V3 by keeping the same heart and soul while giving more flexibility and options. If you are looking for classic rock overdrive that feels, sounds, tastes, and smells like the real thing... Look no further.

Official Product Page

Manual

JHS Charlie Brown V4 - Livingroom Gear Demo

Charlie Brown V4

4 Wheeler Fuzz
Bisher konnte Bass Fuzz nur süße Klänge erzeugen. Es gab nur sehr wenige Fuzz-Pedale, die in einer Umgebung wie meinem Zuhause, in der ich keine lauten Töne erzeugen konnte, eine straffe, treibende Basslinie spielen konnten. Das 4 Wheeler V2 von JHS Pedals ist ein Pedal, das eine Vielzahl von Bass-Fuzz-Sounds verarbeiten kann, von Jam-Band-Sounds der 60er Jahre bis hin zu modernen elektrischen Fuzz-Sounds. Eine speziell abgestimmte Gate-Steuerung sowie Lautstärke-, Ton- und Fuzz-Regler sorgen dafür, dass Sie den gewünschten Bass-Fuzz-Sound direkt zur Hand haben. Es gibt ausreichend Lautstärke/Headroom für jede Bühnengröße, sodass Sie Ihren Verstärker kräftig ansteuern können. Die Tone- und Fuzz-Regler sind äußerst flexibel, sodass Sie den gesamten Bereich der Regler effektiv nutzen können. In Kombination mit dem Gate-Regler eignen sie sich perfekt zum Spielen synthartiger Sounds und Riffs. Sie können einzigartige Sounds erzeugen. Darüber hinaus können Sie mit dem Hi/Lo-Kippschalter einen tieferen Klang mit noch stärkerem Fokus auf die Tiefen als mit der normalen V1-Einstellung erzeugen.

4 Wheeler Fuzz
Until now, Bass Fuzz could only create sweet sounds. There were very few fuzz pedals that could play a tight, driven bass line in an environment like my home where I couldn't make loud sounds. JHS Pedals' 4 Wheeler V2 is a pedal that can handle a variety of bass fuzz sounds, from 60's jam band sounds to modern electric fuzz sounds. A specially tuned Gate control, along with Volume, Tone, and Fuzz controls, puts the bass fuzz sound you want right at your fingertips. There's plenty of volume/headroom for any size stage, so you can drive your amp hard. The Tone and Fuzz controls are extremely flexible, allowing you to effectively use the full range of the knobs, and when combined with the Gate control, are perfect for playing synth-like sounds and riffs. You can create unique sounds. Additionally, the Hi/Lo toggle switch allows you to create a deeper sound, with a more low-end focus than his normal V1 setting.

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Demo by Living Room GD

Demo by Prymaxe

4 Wheeler V2

In 2017, Josh built his longtime friend and session / touring guitarist Mason Stoops a one-off Superbolt with a unique taco graphic. The taco icon was a reference to the jam sessions / taco nights they often attended together in LA.

The practice of giving a custom built pedal as a gift was normal in the JHS world, but something far less normal happened when Stoops plugged it in: he noticed a glitch. The internal bias trim pots had never been properly adjusted, resulting in a wildly unbiased sound that Stoops instantly adored. No longer an overdrive, and somewhere between a fuzz and a blown-out Tweed amp, the TacoBolt was the definition of a happy accident. Over the years this sound has become a staple of Stoops’s work and piqued the curiosity of his collaborators. In 2024, we have recreated this serendipitous circuit with the last remaining (now discontinued) Superbolt materials in the limited edition JHS TacoBolt.

Review by reddit /guitarpedals

Official Product Video

Review by The Gear Page

Tacobolt

Mit dem JHS Pedals Summing Amp habst du die Möglichkeit, zwei Eingangssignale in einem Ausgangssignal zu mischen. Dies ist ideal, um Effekte parallel zu betreiben, so dass sie nicht voneinander beeinflusst werden. The Edge verwendete diese Technik beispielsweise in den 80er Jahren mit seinen Delays. Wenn du ein Viertel-Delay und ein Punktierte-Achtel Delay hast und beide gleichzeitig benutzen möchtest, kannst du sie mit dem Summing Amp zusammen führen und die Delays des einen Pedals werden nicht weiter vom anderen verzögert. Er kann auch mit Overdrives verwendet werden damit sich diese nicht gegenseitig pushen. Eine weitere Möglichkeit besteht darin, Fuzz und Kompressor parallel zu kombinieren, damit das Fuzz nicht durch die Kompression zerdrückt wird. Mit dem Summing Amp hast du die Möglichkeit, Effekte auf völlig neue Art und Weise zusammen zu nutzen, die du dir vielleicht nie vorgestellt hast. Und der JHS Summing Amp eröffnet dir mit deinen alten Effekten völlig neue und inspirierende Klänge.

The JHS Pedals Summing Amp gives you the ability to take two inputs and blend them into one output. This is perfect for putting effects in parallel so that they are not affected by one another. The Edge used this technique in the 80s with his delays. When you have a quarter note delay and a dotted eighth delay and you place them in parallel then sum them back together, the effect is that both delays come through more clearly and are not "delaying the delays". This can also be used with overdrives so that they are not pushing each other as in series, but sit atop one another in parallel. Another use is combining fuzz and compression in parallel so the fuzz isn't getting choked by the compression. The Summing Amp gives you the ability to use effects together in completely new ways that you may never have imagined and can open up new and inspiring sounds with your old effects.

JHS Summing Amp - Review by Muzikus [CZ], [08-2019]

JHS Summing Amp - Review by TopGuitar [PL], [06-2019]

Demo by Sound Affects

Demo by Double D guitar

JHS Switchback, Summing Amp, Active ABY - Review by Gitarre & Bass [DE], [05-2019]

Summing Amp by JHS

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Worship bass dual signal

Worship bass dual signal alernative set

V1 2022build

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