In 1968 a piercing guitar tone came through the speakers on the Beatles “Revolution 1”. This is one of the most famous uses of plugging a guitar straight into a mixing console and creating the now referred to as “Direct-In Distortion". That tone is one of the most recognizable and unique guitar tones of the last 60 years and was one of the inspirations for the JHS Colour Box that we released in May of 2014. We sought to recreate that same compressed bite and fuzz that you get when plugging directly into a British style preamp but in a compact pedal. What we came up with was something even more than we imagined, and the Colour Box has become a staple among many producers, guitar players, and multi-instrumentalists world wide. Many players over the last few years have expressed their interest in a unit that is like the Colourbox but more streamlined for the one basic application of a dirt box. No XLR function, no 3 band EQ… Just the dirt in an easy to use format for guitarists… So we decided to pull the Crayon out of the Colour Box.

The controls are Master, Pre, Tilt, and Hi Pass. “Master" is your classic volume control that controls the overall output. “Pre" works as a drive or fuzz control like turning up the pre-volume on a preamp to send it in to overdrive. As you reach 75% and above, the fuzz will begin to gate out as you pick the strings harder when playing, it is very responsive to your input signal and touch. The “Tilt" acts as an active tone control that is flat when the knob is at 50%. When turned to the left, the Tilt control boosts bass and simultaneously cuts treble. When turned to the right, it boosts treble and cuts bass. This allows for some very unique and usable adjustments to the overall feel of the Crayon. The “Hi-Pass” toggle switch lets you activate from two different frequencies located on the side of the pedal, 200Hz and 750Hz. These settings let only the high band frequencies above them pass, and this allows for some amazing tone shaping possibilities.

The Crayon excels at Direct-In fuzz tones, but it truly covers more ground than you would first imagine. From subtle tube-like overdrive to classic rock distortion and all the way to spitting fuzz, the Crayon is much more than a one-trick pony. The Crayon also cleans up with your guitar's volume better than any other drive we make. It is exceptional for the player who want to access multiple dirt tones with the controls of their guitar.

The Crayon may be the tone you’ve heard and always wanted, the tone that you never knew where to find. Add this Crayon to your palette of tones and color your own unique voice.

Over the years the Morning Glory is undoubtedly our most known and praised overdrive pedal. It has won more awards and received more accolades than any other JHS pedal. It was created in 2009 out of a need for an overdrive pedal that simply took a guitar and amplifier’s tone to the next level without adding strong mid frequencies or any other characteristic that came along with the Tubescreamer style circuits on the market. Its goal was, and still is, to be incredibly easy to use and to be the most transparent overdrive out there. Even though the "transparent" buzzword is a bit overused all these years later, the meaning and application still stands as the best way to describe the magic that the Morning Glory brings to your rig. Let's take a look at what improvements the Morning Glory V4 has to offer.

Looking at the controls, we have Volume, Drive, Tone and Gain. The Volume control acts as a master output level control. One improvement of the V4 is that we have added 2x the available headroom to this control if compared to the V3. The Drive control dials in overdrive as you turn clockwise. As this control increases, the treble content is also slightly increased. The Tone control is a basic high-pass filter, and as you turn clockwise, the tone becomes brighter.  As you turn this control to the left, it becomes darker. The Gain toggle activates a new boost mode. This mode is overall more powerful, has more low-end content, and when the drive knob is in its upper region, it creates a more high gain tone than ever available in any variation of the Morning Glory. This toggle is indicated by the status LED turning Red and can be remotely activated by way of the “Remote Gain" 1/4" jack located on the upper right side of the pedal. This ability enables the Gain toggle be used in an on-the-fly application for live performance. Set your normal MG tone and instantly switch the Red Remote for a secondary tone with using hardly any space on your board at all. The Bright Cut toggle is now located on the side of the pedal, still easily accessible but out of the way. This switch is great for rigs that lean a little on the bright side or when you are using the MG as a higher gain drive sound. The input jack is located on the lower right side and the output jack is on the left side. The MG runs on standard 9V DC supply only.

Whether you play a Stratocaster or a Les Paul, you will instantly recognize how the Morning Glory is touch sensitive and keeps 100% of your instrument’s feel in place. From "Little Wing-ish" chime to full chord rock & roll, the Morning Glory is hard to beat. If you are one of the thousands who have made the Morning Glory a part of your rig or a first-time interest, the Morning Glory V4 offers all the right features, tones, and ease of use that you are looking for in a primary overdrive pedal.

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5".

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.

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 we 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. Let's take a look at what makes the PnP V4 stand out in the crowd now more than ever.

Looking at the controls, we have Volume, Compression, Blend, EQ and Dirt. The Volume control is a standard master volume that lets you cut and boost the output signal. One major improvement of the V4 is that we have added even more clean headroom so you can use the PnP as a lead boost or drive a tube amp with ease. The Compression control rolls in compression/sustain as you rotate it clockwise. The Blend control works much like the faders of a mixing console. As you turn the control clockwise, you are blending in compressed tone in parallel to your dry signal. This control allows you to dial in the perfect amount of attack and clarity to your compressed signal so that you never lose the original tone of your guitar and amplifier. The EQ control lets you darken and brighten your affected signal. When set at noon, the control is bypassed. Turning the EQ to the left allows you to darken while moving to the right lets you brighten the tone. The Dirt toggle works in conjunction with the side accessible trim pot and allows you to activate your desired amount of dirt/overdrive into the signal path. This control is a magic bullet for bass players who want to cut through the mix or for electric players who only need compression and dirt as the foundation of their tone. On the side of the PnP you will also notice that the internal bypass buffer is switchable on-the-fly. For true bypass operation turn this off, but for buffered bypass signal to drive your long cable lengths and to restore lost tone, turn this on.

The inputs and outputs are fairly typical. The PnP runs on standard 9V DC power only. The right 1/4" jack is the input, and the left 1/4" jack is the output. The left side also has an XLR/DI output so that you can go directly from the PnP into a mixer or studio interface. This output makes the PnP an active DI channel strip for bass players or acoustic instruments. There is also a ground lift if the DI signal creates a hum.

The PnP design shines as a true and transparent compressor that loves single coils as well as humbuckers. If you have ever thought that compressors rob your high-end and dull your tone, the Pulp N Peel is the compressor that you never knew you needed. 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.

Juice up your tone with a slice of the unique, easy to use, and powerfully versatile Pulp N Peel V4.

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5".

VERSION HISTORY:
V1 = only 2 knobs. no logo. VERY rare.
V2 = 3 controls, softer orange color, older orange slice logo
V3 = 3 controls, includes LBB via internal dip switch
V4 = 4 controls, added an EQ knob, Dirt toggle, XLR output

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 we 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. Let's take a look at what makes the PnP V4 stand out in the crowd now more than ever.

Looking at the controls, we have Volume, Compression, Blend, EQ and Dirt. The Volume control is a standard master volume that lets you cut and boost the output signal. One major improvement of the V4 is that we have added even more clean headroom so you can use the PnP as a lead boost or drive a tube amp with ease. The Compression control rolls in compression/sustain as you rotate it clockwise. The Blend control works much like the faders of a mixing console. As you turn the control clockwise, you are blending in compressed tone in parallel to your dry signal. This control allows you to dial in the perfect amount of attack and clarity to your compressed signal so that you never lose the original tone of your guitar and amplifier. The EQ control lets you darken and brighten your affected signal. When set at noon, the control is bypassed. Turning the EQ to the left allows you to darken while moving to the right lets you brighten the tone. The Dirt toggle works in conjunction with the side accessible trim pot and allows you to activate your desired amount of dirt/overdrive into the signal path. This control is a magic bullet for bass players who want to cut through the mix or for electric players who only need compression and dirt as the foundation of their tone. On the side of the PnP you will also notice that the internal bypass buffer is switchable on-the-fly. For true bypass operation turn this off, but for buffered bypass signal to drive your long cable lengths and to restore lost tone, turn this on.

The inputs and outputs are fairly typical. The PnP runs on standard 9V DC power only. The right 1/4" jack is the input, and the left 1/4" jack is the output. The left side also has an XLR/DI output so that you can go directly from the PnP into a mixer or studio interface. This output makes the PnP an active DI channel strip for bass players or acoustic instruments. There is also a ground lift if the DI signal creates a hum.

The PnP design shines as a true and transparent compressor that loves single coils as well as humbuckers. If you have ever thought that compressors rob your high-end and dull your tone, the Pulp N Peel is the compressor that you never knew you needed. 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.

Juice up your tone with a slice of the unique, easy to use, and powerfully versatile Pulp N Peel V4.

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5".

VERSION HISTORY:
V1 = only 2 knobs. no logo. VERY rare.
V2 = 3 controls, softer orange color, older orange slice logo
V3 = 3 controls, includes LBB via internal dip switch
V4 = 4 controls, added an EQ knob, Dirt toggle, XLR output

If you’ve ever heard an original Marshall JTM45 than 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. Our 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. Let's take a look at the controls. Looking at the pedal you see Volume, Drive, Bass, Mids, and Treble. The Volume control acts as a master volume would on your amplifier. Turn this control up and you are louder, turn it down and you are quieter. The Drive knob controls the amount of dirt or overdrive in the path. All the way up is the most available dirt, all the way down is the cleanest setting. With the gain below 50%, it is a low gain grit overdrive that even Hendrix would be proud to turn on. When you get into the upper half of the gain control, you will find a new world of natural, crunchy bite that stands alone in our line of overdrives. Max it out and you will be in high gain overdrive heaven. New to the V4 are the Bass, Mids, and Treble controls. To faithfully replicate a vintage Marshall, we felt it was time to incorporate a full Marshall style tone stack.  All three of these controls act as a cut and boost, while at noon they are relatively flat. The right 1/4" jack is the input, and the left is the output. If you are looking for classic rock overdrive that feels, sounds, tastes, and smells like the real thing... Look no further. This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5".

VERSION HISTORY:
V1 = larger enclosure. no charlie icon.
V2 = changed to current size enclosure and look.
V3 = slightly different drive control and gain structure than V2
V4 = color changed to yellow, added 3 band tone stack, 5 controls total

This is our "Everything Medium to High Gain 2 in 1" and it covers all the bases from clean boost, light breakup, blues, rock, heavy grind and more.

The right side is our  JHS-808 circuit. It has a smoother, more usable tone control and all the character you would expect from this classic legendary design. High quality components yield excellent bass response and lower noise than any unit on the market. The V2 now has a 3 way gain switch for 3 different varieties of drive saturation and flavor. Even the current reissues can’t hang with this one!

On the left side is our very own “Angry Charlie”. High gain JCM 800 type “Brown” sound tone that we believe is the most accurate Marshall tone ever put in a stomp box! It has volume, drive, tone and presence controls. The presence control allows this monster to bring any amp into submission and make tone that will have ears wanting more.

The V2 now has our famous order toggle so you can choose what circuit comes first in the chain. This is great for stacking in different ways and for getting a wide range of tones.

With these tones combined or used separately, the Sweet Tea is more tone than you can shake a stick at!

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 4.7"x3.7"x1.2"

VERSION HISTORY
V1 = slightly different icon, no toggles.
V2 = current production model, order toggle and gain toggle added.

This is our "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 our JHS-808 with more usable tone control, more focused lows, better presence and warmer clipping than the original screamers on the market.  With “Version 3” we added a three way gain switch to choose between saturated/boost/crunch. The left side is our #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.

We are convinced that this is one of the greatest 2 in 1 pedals ever made... Seriously. If you're having problems getting the tones you want, just snatch the Double Barrel and see what happens!

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 4.7"x3.7"x1.2"

VERSION HISTORY
V1 = Slightly darker cream powder coating, no toggle switches, just 6 knobs.
V2 = Color change to more white, order toggle switch was added, morning glory bright cut switch added.
V3 = Current production model, 808 gain toggle added, shotgun logo slightly changed.

Version 1.5 now shipping as of November 10, 2015!!!  Version 1.5 is nearly identical to V1 except for a internal change that provides nearly infinite feedback and smoother and less-percussive run-away/oscillation!  V1.5 has no external changes or any function changes...just the internal change.

Do you want us to mod your V1 to V1.5?
We're happy to modify V1 Panther Cubs into V1.5 for a small fee... select the option in the drop down menu below and complete the checkout process... be sure to print and complete our Modification form and include it in the box with your Cub when you mail it to us.  Visit this page, add the Mod to your Cart and complete the check out process.  Please visit Panther Cub V1.5 Upgrade Mod

In 2011 we released the Panther Analog Delay.  Almost exactly two years later we tried a nearly impossible feat of taking everything we love about the Panther Delay, making a few improvements, and packaging it into a enclosure half the size.  We are proud to bring to you the Panther Cub. True Bucket Brigade delay that has the tone and options to cover any style, any use, and any player. The Panther Cub Delay is our most anticipated pedal to date with it’s groundbreaker feature set including “tap tempo control” that lives within an all analog 1000 milliseconds of delay time!  The “effects loop” allows you to place any effect or effects chain on the repeats only. We kept the four section “Ratio Control” to give you quarter, dotted eighth, eighth, and triplet divisions. The built in “Modulation” gives you a shimmery Deluxe Memory Man type vibe and works perfectly even with tap in use. The Panther Delay was the first to do this!  The internal "Roar" switch gives you two different levels/sensitivity of oscillation and runaway.  As the user you have the ability to program an “expression control” to your favorite knob to use it to change settings on the fly!  The “Tap In/Out” jack lets you remotely tap in a tempo or slave another tap device for amazing live flexibility. All this and more is powered by a standard 9v supply.

– 1000 Miliseconds of Delay (1 full second)
– 100% Analog signal path
– Eight 3208 Bucket Brigade Delay chips
– Efficient and compact 1590BB size case (4.7"x3.7")
– 4 Position Ratio control (1/4, 1/8, dotted 1/8, Triplets)
– Standard 9v DC Negative power
– Soft-touch Tap Tempo switch
– Onboard Modulation (speed/depth) that stays accurate even when using Tap Tempo
– Internal "ROAR" switch for 2 modes of oscillation sensitivity
– EFX Loop (via TRS splitter) that allows placement of any effect on repeats only
– Dry Out (via TRS splitter) for stereo field of sound
– Space saving top-mounted Input/Output jacks
– True Speed LED (indicates rate of actual delay)
– Assignable Expression (control Speed, Ratio, Mod Depth, Mod Speed
– Improved and Strengthened Feedback and Oscillation
– Improved Delay overall definition and strength
– Tap Input/Output allows external tap controller or tap slaving
– True Bypass Switching

100% Designed, Populated, and Assembled in Kansas City USA

This pedal requires standard 9V DC Negative power, consumes 100mA, and measures 4.7"x3.7"x1.2"

We are proud to bring you the Emperor true analog chorus and pitch vibrato with tap tempo, waveform selection, rotary speaker simulation, true stereo output and more. Starting with the coveted vintage Arion SCH-1 chorus topology, the Emperor's design and engineering expands further into new heights of what real bucket brigade tones (via a 3207 chipset) can offer. The end result allows you to have a host of vintage modulation tones at your disposal with the amenities and modern flair that only we can offer. From vintage    Boss VB-2, CE-2, CE-1, as well as the legendary and rare SCH-1, the Emperor lets you explore true analog modulation at it’s best.

Knobs & Controls
There are four knob controls on the Emperor:  Volume, Tone, Speed, Depth.  The Volume control allows you to adjust the input by cutting or boosting the signal. This gives you the flexibility to have your tones sit back in the mix or stand out as needed. The Tone control is a variation of the original SCH-1 tone stack with several adjustments that give it a better sweep, focus and range. The Speed control allows you to adjust the time/speed of the modulation.  The Tap Tempo footswitch works in conjunction with the Speed control to allow you adjust your Speed on-the-fly and in real-time.  The Depth control allows you to adjust how deep or wet the modulation is perceived.

Toggle Switches
There are two toggle switches found in the center of the unit.  The Chorus/Vibrato toggle lets you switch between Chorus mode or Vibrato mode.  The Waveform selection toggle gives you three waveform options:  Sine, Square, Triangle.  The three waveforms provide three unique options of Chorus and also three options of Vibrato, making a total of six different modulation settings...all which can be dialed in with tap-tempo. As a starting point, both switches down is true VB-2 style pitch vibrato, both switches up is true SCH-1 chorus.

Jacks
There are three 1/4” jacks on the Emperor. The Input jack receives your instrument's signal. The Output jack sends the signal out of the pedal to an amplifier or your pedal chain. You can use an optional TRS splitter cable from the Output jack and send output signal to two amps for true stereo modulation. The Tap/Expression jack allows you to connect a TRS Expression pedal or a external Tap Tempo to control the unit.   Choose which option you want to use by using an internal switch labeled "Tap/Exp."  In Expression mode, connect any TRS Expression pedal to control the pedal's speed and you will have a very natural rotary simulation effect when in Chorus mode.  The Speed parameters are perfectly preset for a very realistic rotary speaker sound with real time control at your feet.  When in Tap mode you can set the Speed of the Emperor using an external tap tempo pedal.

True Bypass & Buffered Bypass Options
The Emperor can utilize true-bypass on/off switching OR buffered bypass switching.  The footswitch on the bottom left of the pedal turns the effect on/off.  Internally you will find a small dip-switch that lets you select true bypass or buffered bypass.  If you want you use the Emperor with a TRS Splitter for stereo use, you will have to use the Buffered bypass setting.  Stereo output will not function when the pedal is in true-bypass mode.  The Emperor will ship set to buffered bypass.  The buffer is a high quality buffer designed to keep the integrity and tone of your original signal in place while driving your signal so that no degradation occurs in your rig.

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 4.7"x3.7"x1.2"

Are you looking for an overdrive that is not transparent and adds its own character and attitude? The Moonshine is for you. Our Moonshine Overdrive is a highly unique and massively tweaked version of the most famous overdrive ever created and housed in a little green enclosure. Blues, rock, country, jazz, and even hardcore/metal players will find this is an indispensable tool for shaping and creating unique mid heavy tones for almost any need.

You’ll immediately feel at home with our basic Volume, Tone, and Drive knobs, so tweak away! The simple 2-position “Proof” toggle gives you everything from low gain amp-like breakup with powerful colored boost settings to grinding, heavy overdrive that reaches to the very edge of cranked amp distortion.

In the down position, you’ll find the highest gain settings, lots of saturation and sustain and the most mid-range goo available. In the up position are the more open and forceful crunchy tones that will make any amp beg for mercy. The up position also adds more overall volume and more headroom to those searching for cleaner applications. The tone control goes down as smooth as Grandpa’s White Lightning, with none of the harsh ice-pick characteristics that many overdrives have in the brighter settings.

Just like our SuperBolt pedal, the Moonshine uses an internal 9v to 18v charge pump that allows it to run on normal 9v but converting it internally to 18v for an enormous amount of headroom, added low-end and more overall punch.

We wouldn’t be surprised if this is the most girthy, thick overdrive you have ever plugged into. If you’re a fan of stacking overdrives, you’ll love putting this in front of or behind your favorite drive, booster, or fuzz. The Moonshine delivers on any style amp, easily producing anything from SRV classic Stratocaster/Fender amp tones with class to huge “wall of rock” The Edge-style force through a Vox. On another note, you might find a few Dumble-esque lead settings that will have you feeling like you saved a cool $100,000 in search of that sacred tone. Last but not least, it kills on bass guitar, the reason it was originally designed.

This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5"

When the opportunity to work with legendary guitarist, writer, producer, and founding member of the famed UK band Delirious came about, we couldn't pass it up. Right out of the gate StuG wanted a dirt box that could essentially cover any and all ground he needed for his studio work and extensive touring gigs. From that request the Kilt was born.

The Kilt is a true 2-in-1 Dirt Box / Boost in a small footprint that packs all the power, range, options, and tones you could ever want. The left side is heavily inspired by the original and sought after Expandora, but with some major tweaks that bring this classic effect to a new level of tones and usability.  Of all the drive pedals we have released this one is as close to “doing it all” as any.  You can achieve transparent light tube-like breakup, bluesy overdrive, thick natural distortion, and even over the top fuzz from this one box.

At the heart of the left/dirt side is a specifically chosen op-amplifier that offers super low noise, improved slew rate for a smoother structure, and a character that just feels better than the original.  There are also 3 mini toggles for the left/dirt side that enhance tweak-ability and options even further. The "Cut" toggle gives you the ability to cut or boost the low end frequencies.  The down position is the stock setting that gives you a significant and very useful bass boost over the original Expandora that lacked greatly in this area.  The up position is closer to an original Expandora and thinner, hence the term cut.  The "G1" and "G2" toggles let you select various forms of distortion via select resistance values that switch in and out in the clipping section of the circuit.  This method is very different than your normal diode clipping selectors that you commonly see on drive pedals.  This gives you multiple configurations and tonal options, helping the Kilt cover light transparent drive all the way to a fat wall of distortion and everything found in between.  The controls from left to right for the left/dirt side are “Volume", "Tone", and “Gain."  These are pretty self explanatory in the fact that the "Volume" is the overall master output volume of the drive, the "Tone" rolls in high end as its turned clockwise, and the "Gain" controls the amount of distortion by turning the input of the pedal up or down allowing less or more signal to hit the circuitry that causes the distortion.

The right/boost side is a JFET boost with an ever so slight amount of grit and presence that helps in boosting solos or slamming the front end of the left/dirt side to achieve even more distorted sounds. The "Boost" knob controls the volume level of the boost and the mini "Order" toggle lets you choose between Boost pre left side (switch down) and Boost post left side (switch up).

The Kilt runs at 9v and has true bypass switching all inside a custom polished aluminum enclosure.

In a world full of reverb pedals we are proud to offer up a highly tweak-able, versatile, inspiring and cost effective solution for any situation your gig might throw at you. The heart of the Alpine's design is the idea that you can have a reverb pedal that is straight forward, easy to use, but also extremely powerful in its functions all while still very approachable without requiring a degree in computer engineering to dial in a great sound.

Switches & Knobs
The Alpine features two footswitches.  The left footswitch turns the pedal On/Off and the right footswitch is the "Shift" footswitch (which we will explain a bit later).  The knob controls start with the "Reverb" control.  The "Reverb" control is essentially a wet/dry mix knob that lets you set the perfect balance and feel to how saturated the effect feels.  The "Highs" control functions like a high-pass filter.  Highs roll off and let you darken or brighten the overall effect when its engaged.  The "Highs" control plays a big part in the actual feel of the reverb, how it decays, and how it reacts in your overall rig.   For example a setting that may feel over-the-top or a bit wild can be tamed into a very usable and more subtle texture simply by rolling back the "Highs" control.  This also works in the opposite way as a simple room/slap sound can be brightened into a more dramatic sound.  The "Depth" control adjusts the size or space of the reverb. Think of the "Depth" control as a knob that lets you change the depth of the canyon you are playing guitar in.  The "Length" control adjusts the tails/decay time of the overall reverb.  At low "Length" settings you feel like you're in a bathroom, at full tilt you feel like you're in a space cave that transcends human perception.

Shift Knob & Footswitch
The "Shift" knob is possibly the most useful of them all as it basically allows two settings on the fly. When you engage the "shift' footswitch on the right you also engage the "Shift" knob that is a second "Reverb" control.  This lets you set the standard "Reverb" control to one setting and the "Shift" to another for on the fly adjustment between two preset sounds.

Jacks
You will find The Alpine has two top-mounted 1/4" Input/Output jacks like most pedals.  On the left side we also include a TRS EFX Loop jack just like what is found in the JHS Panther Cub Analog Delay.  The EFX Loop allows you to insert any pedal or effect unit you want within the reverb signal itself for infinitely tweak-able sounds.

EFX Loop
Using a TRS Splitter Cable you can insert your favorite octave pedal to create a Shimmer effect.  Insert a delay for huge ambient pads or even an EQ for fine control of the frequencies and shape of the reverb effect.  On your splitter cable the RING goes to the output/return of the effect you are using in the loop and the TIP goes to the input/send of that same effect.   Inside the Alpine you will find a small switch that says (EFX LOOP) and two positions labeled (SHIFT ONLY) and (ALWAYS ON).  All units are shipped with this dip-switch in the (SHIFT ONLY) position.  When the switch is on "Shift Only" the EFX Loop only engages when you engage the "Shift" footswitch setting.  This allows you to have your normal reverb setting and then hit the "Shift Footswitch" to activate your "Shift" knob setting and your EFX Loop at the same time for two very different sounds on the fly.   If you want the EFX Loop to apply in both the normal "Reverb" and "Shift" settings, simply flip the dip-swich to the (Always On) position and the EFX loop will always-be-on-all-the-time whenever the Alpine is turned on or the "Shift" is engaged.

Trails & Buffered Bypass
The Alpine uses a high quality buffered bypass that restores lost signal in your rig by correcting impedance and driving the load of your signal to your amp.  Using buffered bypass also allows for "Trails."  Trails is the feature that lets the reverb signal to gradually trail off when (instead of cutting off abruptly) turning the pedal off.

After years of requests JHS Pedals finally caved, and by caved we mean you can now sound like you are now playing your guitar in a cave with JHS Pedals style. The Alpine is what we believe to be the complete package in reverb. It does the simple as well as the complex and is easy to use. If you want a realistic and believable Spring reverb or even washed out ambient layers, the Alpine does all of these tones and more.

Special thanks to Jim Coleman of Sky Pedals for giving us a great foundation to build on. The Cloud 9 lives on in the Alpine. Click HERE to watch a short video about how/why JHS Pedals acquired Sky Pedals and re-designed and improved the Cloud9 to bring you the Alpine Reverb.

This pedal requires standard 9V DC Negative power, consumes about 100mA, and measures 4.7"x3.7"x1.2"

In 1961 a British engineer would start a company from a spare room in his England home that would permanently change the history of the Pro Audio industry. This company set a trajectory for musical tones that spanned across genres and impacted every generation that followed. We are talking about the famous piece of gear known as the Neve* recording console. From "Love Me Do" by The Beatles to the famous sounds of Led Zeppelin, U2, Spoon, Pink Floyd, Motown, Quincy Jones, Nirvana, Steely Dan, Neil Young, Tears For Fears, and Tom Petty (the list is endless), The Colour Box is our tribute to the legend and application of how a piece of gear can change music.

Have you ever heard songs like the Beatles "Revolution", or Motown classics like Jackson 5, Marvin Gaye, or even the modern Radiohead's "Bodysnatchers" and thought, "How are they getting that guitar sound?"  Well, the answer is sort of clothed in obscurity, but it's actually created by the simplest practical application......plugging a guitar directly into a vintage studio console and recording "direct in." The JHS Pedals Colour Box is designed and created to allow you to recreate these guitar tones with your live rig, or in a studio environment by using 100% analog circuitry true to the design and schematic of vintage Neve* circuitry. The Colour Box is completely free from any digital modeling. Never before have "direct in" tones been available from your guitar amp in the way that the Colour Box delivers them. Aside from creating these "direct in" tones, the Colour Box covers all the ground that you would expect a high quality studio preamp to cover. From your microphone, bass, keyboard, or even your acoustic guitar, it does it all.

Whats Inside? 
We have gone to great lengths to bring the color and character of a real vintage console to your feet or desktop. We started with two gain stages in series that produce beautiful clean tones but that can also destroy any signal into a beautiful fuzzy mess, full of rich harmonics and body with over 39db of gain on tap. The local feedback of each gain stage makes for a very unique type of distortion. We used the same topology and discrete gain stage found in the Neve* 1073, but we have two gain stages in series instead of one.  We use a high quality Lundahl transformer that adds weight, heft, and a 3D quality just like preamps that you will find costing much more. The transformer fattens the lows, adds harmonic complexity and richness to the midrange (kinda like stirring flour into your drippings to give you gravy) as well as smoothing and rounding of the high frequencies. It also blocks all DC voltages, adds electrical isolation, and blocks RF frequencies ensuring super quiet operation and noise floor.

The Controls and Jacks?
Think of the controls as three separate sections:

1. Gain (RED)
The gain structure is made up of three parts:
–The Pre Volume (labeled "Pre-Vol") can be used the same as you would a Drive knob on an overdrive pedal. In this circuit, the Pre Volume is between the two gain stages, and the setting of the Pre Volume determines how much signal continues to the second stage.
–The Master Gain (labeled "Master") is what would typically be considered as a Volume control. Other terms are "master volume" or the "output trim."
–The Step Gain (labeled "Step") changes the gain of each preamp stage in five stages. Rotating the "Step" knob from left-to-right will increase the gain by the following:
1 is X 18 db
2 is X 23 db
3 is X 28 db
4 is X 33 db
5 is X 39 db

2. Equalizer / Tone Control (BLUE)
The tone control section is a highly modified Baxandall type that is tuned for less control interaction and more boost/cut capability.  The center frequencies are Treble 10kHz, Middle 1kHz, and Bass 120Hz, with +/- 17dB of control.

3. Highpass Filter (YELLOW)
The Highpass spans from 60Hz to 800Hz with a 6dB per octave slope. This control allows you to only let high frequencies pass. In return you will find a vast palet of tones that sit perfect and inspire textures that you have never heard from your rig. The toggle switch will turn the Highpass on or off.

In and Out Jacks 
You will notice that in addition to the normal 1/4" instrument input/output found on a guitar pedal, we added an XLR input and output so that The Colour Box can be used as a vocal, bass, acoustic, or keyboard preamp live or in the studio. The 1/4" mono output and the XLR output are independent and allow you to run parallel outputs to two destinations. For example, run the 1/4" mono out into your guitar amplifier and at the same time run the XLR output to your front-of-house mixing board. Another example of using parallel outputs would be to track amp tones and the "direct in" sound of your performance onto two separate tracks. We achieved the parallel output by way of a discrete shunt-feedback circuit.

Input Selector Switch
The input selector switch located above the input jack lets you choose line or microphone input. In the down position it is in Instrument mode. In the up position it is in XLR mode.

Power 
The Colour Box runs on 18v DC negative center power. We supply an adapter but you can also use any standard 18v DC pedal power supply or voltage doubling cable like the Voodoo Lab found here: https://www.voodoolab.com/shop/index.php?cPath=22_24_32.

Some Noteworthy "Direct In" Guitar Tones To Check Out:
"Revolution" The Beatles
"Black Dog" Led Zeppelin
"The Beast And Dragon, Adored" Spoon
"Cinnamon Girl" Neil Young
"Highway 61" Bob Dylan
"Reeling In The Years" Steely Dan
"Strange Brew" Cream
"Another Brick In The Wall Part 2" Pink Floyd
"Bodysnatchers" Radiohead
"Engines Of Creation" Joe Satriani
"LA Woman" The Doors
"Territorial Pissing's" Nirvana
"Sgt. Peppers" The Beatles
"Get Lucky" Daft Punk
"Im Coming Out" Dianna Ross

Phantom Power
https://www.sweetwater.com/c959--Phantom_Power
The Colour Box does not supply phantom power so you will need to purchase one of these quality phantom power supplies to run in line with your Colour Box if you intend to use a phantom powered microphone or other device.

Never before has a guitar pedal crossed into this territory to bring the tones of pro audio to your pedal board.

*The word/name Neve® is a registered trademark of AMS Neve ltd.
The JHS Colour Box pedal is in no way affiliated with AMS Neve ltd.

Please call us at 410-571-9660 to place an order for one of these rocking JHS Pedals.