Der Pulp N Peel V4 ist das Resultat von über 6 Jahren Basteln, Lernen und Experimentieren. Sein Vorgänger wurde zum Kompressor der Wahl für Player auf der ganzen Welt und hat sich seinen Ruf der Kompressor für Leute die Kompression nicht mögen zu sein eindeutig verdient. In der Version 4 bleibt JHS den Dingen die den Pulp N Peel so einzigartig und herausragend gegenüber der Konkurrenz machen treu und fügt einige neue Features hinzu, um die Fähigkeiten dieses Schaltkreises auf ganz neues Territorium heben. Hierzu zählen ein weicherer Sound mit mehr Sustain, mehr Headroom, ein eingebauter paralleler Overdrive Schaltkreis, ein Tone Regler und ein paralleler DI Ausgang. Die Idee war, einen Kompressor zu schaffen den du nie wieder ausschalten möchtest, der dir kein Attack klaut und einen extrem niedrigen Noise Floor hat und jedem Akkord, jede Melodie und jede einzelne Note mit studioartigem Glanz versieht.

The Pulp N Peel V4 is the result of over six years of tweaking, learning, and experimenting. The Pulp N Peel V3 has become a staple on thousands of players' boards all over the world and has gained a reputation for being the compression pedal for players who don't like compression. In version 4 JHS have stayed true to the things that made the PnP stand out among its competition while adding several new features that expand the circuit’s ability to reach into new territory, new tones and new ways of thinking about a compression pedal. These features include an improved detection circuit for smoother and more sustained tones, more headroom, a built in parallel overdrive-drive circuit, a tone control, and parallel 1/4" and DI outputs. The idea behind the Pulp N Peel is to have a compressor pedal that you never want to turn off, that doesn't rob your attack, that has a very low noise floor, and that adds a professional polish to every chord, lead line, and note that blooms out of your guitar.

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JHS Pulp N Peel V4 - Livingroom Gear Demo

JHS Pedals, VCR (Featuring the Pulp'N'Peel, Milkman, Colour Box 500)- Official Bass Demo

Pulp 'N' Peel 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

Music would not be what it is today without a Fuzz Face at the feet of legendary players like Jimi Hendrix, Duane Allman, and countless others. The Pollinator V2 follows in the footsteps of this legendary circuit, but takes its abilities to new levels. At its heart are hand matched AC128 Germanium transistors that add a mojo and flavor that is instantly recognizable. Let's see what the Pollinator has to offer for any genre that you can throw at it.

Demo by R.J. Ronquillo

Pollinator V2

In 1962 the worlds first manufactured guitar pedal was introduced in the Maestro Fuzz-Tone. Three years later in 1965, it made its way across the pond from the USA to the hands of a British engineer named Gary Hurst in London. The legend has it that he was asked by a London session player to modify the circuit for more bass and better sustain. After some tweaking, the Tonebender was born. The Tonebender MKI was a three transistor circuit as was the following MKII that came later in 1966. Decades after the Tonebenders heyday of the 1960s, a collector named Dennis Johannsen realized that his 60's era Tonebeder had only two transistors, not three. This discovery caused a puzzling situation because all Tonebender circuits through MKIV are a three transistor design. Through further investigation, it came to light in an interview with Gary Hurst that he did make a very small batch of two transistor Tonebenders in February and March of 1966. Dennis Johannsen named his discovery the MK1.5, and it is one of the rarest pedals ever produced, a collectors dream. The Arbiter Fuzz face that came in late 1966 is an almost direct clone as well as various other two-transistor fuzz circuits of the era. The MK1.5 is a true legend of guitar that almost went unnoticed to history. The sound of this fuzz is very aggressive, full of low end, and sustain. You may also notice a slight velcro-ish type decay as notes decay off in extreme settings. 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 Benders 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 normal polarity power cable like your other pedals as I have wired it internally to work that way. The Bender 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 Bender

The VCR pedal is a first in a new collaboration between PaxAM, Ryan Adams, and JHS Pedals. The VCR pedal is Ryan's signature Volume/Chorus/Reverb pedal inspired by the tones of The Cure, The Smiths and a hefty dose of 1980’s angst. Dial in the perfect movement, ambience and volume/boost level to create an instant three effect analog preset.

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