The Morning Glory is undoubtedly JHS' most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. JHS worked hard to make it one of the most transparent overdrives out there.  When you want to add some mid- to low-level grit to your crystal-clean tone, use your Morning Glory. When you want to boost a crunchy tone into thicker sustain, use your Morning Glory.  When you need to add tube-like touch response to a less-than-ideal amp, use your Morning Glory. When you need to switch between two gain levels on the fly you get the idea. FEATURES Gain control sweeps from completely clean to rock ‘n’ roll Tame high end on brighter rigs with the side-mounted bright-cut switch Increased headroom and output for use as a full-frequency boost This pedal requires standard 9V DC Negative power, consumes 43mA, and measures 2.2"x4.8"x1.6"

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 When you are hungry for fat, rich and legendary fuzz tones, look no further than the six-course meal that the Muffuletta serves up. The Big Muff fuzz has been around so long, been on so many classic recordings, and been through so many variations that every guitarist out there has a favourite version of its iconic tone. JHS wanted to pay tribute to that undeniably classic fuzz pedal, but we couldn’t come to a consensus about which Muff was king.  With the Muffuletta, our indecision is your gain. We crammed five all-analogue re-creations of the pedal’s most beloved tones into this box. We even threw in a JHS-exclusive tone that is our take on the historic stomp.  No matter what Big Muff era you prefer, you can get ‘em all in the JHS Muffuletta fuzz pedal. With a pedal so stuffed with tasty tones, you will have a hard time needing anything else to curb your appetite. This pedal requires standard 9V DC Negative power, consumes 4mA, and measures 2.2"x4.8"x1.6".

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The Big Muff fuzz has been around so long, been on so many classic recordings, and been through so many variations that every guitarist out there has a favourite version of its iconic tone. JHS wanted to pay tribute to that undeniably classic fuzz pedal, but JHS couldn’t come to a consensus about which Muff was king. With the Muffuletta, their indecision is your gain. JHS crammed five all-analog re-creations of the pedal’s most beloved tones into this box. They even threw in a JHS-exclusive tone that is their take on the historic stomp. No matter what Big Muff era you prefer, you can get ‘em all in the JHS Muffuletta fuzz pedal. Features: Controls: Volume, Sustain, Tone, Mode Selector Modes: Civil War, Russian, PI, Triangle, '73 Rams Head, JHS 2015,  Connections: 1/4” Input jack, 1/4” jack Output jack Current Draw: 15mA consumption Power: Uses 9V DC Negative Center 

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 With a name like the JHS Pedals Mute Switch, it doesn’t take a rocket surgeon to guess what this little guy does. It’s a switch that mutes your signal. This latching design lets you immediately cut your signal for silent tuning, breaks between sets, and more. SPECIFICATIONS Small size is ideal for saving pedalboard space Easy-to-use latching design Enjoy absolute silence from everything before it in the chain Works great on pedalboards and in effects loops LED indicator changes from blue to red to show if the mute is engaged This pedal is passive but requires standard 9V DC Negative for the LED to function and it measures 3.6"x1.5"x1" Note: This is NOT a momentary switch. When clicked, the signal stays in the position chosen.

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 The JHS Overdrive Preamp is a faithful replication of this unobtainable V1 of DOD’s most loved pedal. The controls are simple. The Level control adjusts the overall output of the circuit and lets you cut or boost the signal. The level control of this version has been modified (corrected) from the original wiring of the #75 unit, giving this pedal much more volume on tap. The Gain control adjusts the amount of gain inside the overdrive circuit. Turning up “Gain” creates more clipping as it pushes the op-amp and hard clipping into overdrive. We’ve also added a slider switch to this production version, which wasn’t included with the original DOD 250. While researching the #75 “Big Box” pedal, I acquired a second early big-box unit that used a completely different clipping arrangement. It only seemed fair to offer this switch so that you could explore these two variations for yourself. The internals featured a floating/loose hand-etched PCB and the same DOD 250 circuit, but with a few changes. The internal parts dated as early as 1972 and, according to David, were harvested from old radios and electronics he scavenged when he started building his first effects. Features: Level Controls - Adjusts the overall output of the circuit and lets you cut or boost the signal.  Gain - Adjusts the amount of gain inside the overdrive circuit. Turning up “Gain” creates more clipping as it pushes the op-amp and hard clipping into overdrive.  Slider - This slider switch allows you to explore two variations within the V1 clipping arrangements. The slide switch DOWN replicates the clipping from the earliest version ever found (this mode is the most distorted and saturated of the two). The slide switch UP uses the clipping arrangement found in a later serial number (this mode is a bit more open, louder and more clear).  Can be powered between +9 to +18 DCV centre negative. Do not use more than +18 DCV.   5mA current consumption. 

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 In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI. Scott Burnham and Steve Kiraly first had the idea after playing, repairing and modifying all the available distortion pedals on the market. They wanted something that didn’t exist in the then mainstream throes of MXR, DOD and even BOSS’s product line; they wanted a pedal that could go from overdrive to distortion and then all the way to fuzz. By 1979 Scott had perfected the circuit in his RAT-infested basement workshop, and the rest is history.The PackRat is the ultimate tribute to the 40+ years of rodent evolution and its impact on the guitar’s sound. Artists from every genre have used the iconic tones in this unassuming black box to create their sounds, including Nirvana, John Schofield, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck and Radiohead.Building on our Multi-Mode pedal series that includes the Muffuletta and Bonsai, the PackRat uses the same unique digital runway system to direct the paths of 261 components through 40 individual switches. This means that when you choose one of the nine legendary or rare modes, you are playing fully analog circuits that perfectly replicate that mode, even down to the aging components (also known as component drift).

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 JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.  This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels. A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination. The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice! SPECIFICATIONS Power:    Standard 9V DC Negative Power Consumption:    67mA Dimensions:    2.2" X 4.8" X 1.6"

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 The JHS Pedals Prestige is a booster/buffer/enhancer that will give you that 'something', the magic, that you’ve been looking for. In a simple package, the Prestige can be used as an always-on preamp or buffer, or crank it up to send your amp into natural overdrive that will dazzle audiences far and wide. It’s time you added the JHS Pedals Prestige to your rig so you always have an ace up your sleeve! The Prestige features one knob for volume. In the first 25%, you have a natural buffer/enhancer that is great for long cable runs or just to add a touch of brightness to your signal. At 25% to 75% the Prestige becomes a volume boost to give you a nice push for solos or to put in front of an overdrive to create more saturation.  Above 75% and you’ll be sending your amp into a meaty natural breakup by pushing the tubes on your amp. This can be used as a first stage overdrive or a second stage to maintain your other overdrives’ tone while giving more of everything you love. This pedal requires standard 9V DC Negative power, consumes 7mA, and measures 3.6"x1.5"x1". 

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 The Pulp ‘N’ Peel V4 is the truly transparent compressor pedal you’ve been hoping for and much more. Its smooth-sounding parallel compression circuit offers you the power to blend in your ideal balance of compressed and uncompressed signal.  You’re able to add a touch of grit to your tone thanks to the pedal’s Dirt mini toggle. Also, whether you’re a bassist sending your signal direct or a guitarist running the Pulp ‘N’ Peel on your pedal board, the pedal’s ¼” and balanced XLR outputs have you covered.  This compressor/preamp pedal sports a ton of tone-shaping power. So no matter what your compression needs, the Pulp ‘N’ Peel V4 is your go-to solution. This pedal requires standard 9V DC Negative power, consumes 32mA, and measures 2.6"x4.8"x1.5".

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The ROSS Chorus is a bucket-brigade true-analog chorus which utilizes the V3207 BBD chipset. While this pedal excels at the vintage bucket-brigade chorus and vibrato tones you’ve heard for decades, these straightforward controls can also create a wide range of textures and are versatile enough for any style of music. Features: Controls: “Rate” controls the speed of the LFO (left is slower, right is faster). “Depth” controls the depth or perceived mix of the chorus effect (left is less, right is more). The side switch toggles between two modes: Classic Chorus and Pitch Vibrato (reminiscent of effect pedals like the BOSS VB-2). The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 47mA. This pedal requires 9V DC negative center. 46mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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The ROSS Compressor is an OTA-based, vintage style compressor. This is a faithful reproduction of the coveted “Era 2” Gray Box ROSS Compressor circuit. Possibly the most legendary and hyped compressor of its kind, we are excited to bring this design into a new era. Features: Controls: “Level” controls the volume (right is louder, left is quieter). “Sustain” controls the amount of compression/sustain (right is more compressed/sustained, left is less compressed/sustained). When activated, the side push switch toggles between two modes: Standard and Bright. The Bright mode helps your guitar cut through the mix when you need a little extra clarity for darker pickups or amplifiers. The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 37mA. This pedal requires 9V DC negative center. 46mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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The ROSS Distortion is an op-amp hard clipper built around the classic 1970s topology seen in pedals like the MXR Distortion Plus, the DOD 250, the Proco RAT and the BOSS DS-1. While this pedal can be used in almost any situation, it excels at creating natural tube-like overdrive distortion and pushing your amplifier into natural breakup. Features: Controls: “Level” controls the volume (right is louder, left is quieter). “Distort” controls the amount of hard-clipping distortion (right is more distorted, left is less distorted). The side push switch allows the player to toggle between two different versions of the circuit produced during its fifteen year history: Germanium mode ( “Era 2” version) and Silicon mode ( “Era 3” version). The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 40mA. This pedal requires 9V DC negative center. 42mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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The ROSS Fuzz is a pedal that never existed in the previous ROSS history, but its circuit was pulled from the Kustom amplifiers also made by Bud Ross during his Kustom Electronics era. John Fogerty used the Kustom amp’s distortion for hit songs like “Run Through the Jungle” and “Fortunate Son”, and other artists like the Grateful Dead, Leon Russell, Johnny Cash, The Jackson Five, Carl Perkins, the Carpenters and Charley Pride depended on these amps for many of their signature sounds. This pedal is a tribute to that transistorized Kustom distortion effect. It’s a fairly unorthodox fuzz, not associated with classic topologies like the Fuzz Face, Tone Bender or Big Muff. It highlights a hidden moment in distortion history, allowing you to place a vintage tone in your modern rig. Features: Controls: “Level” controls the volume (right is louder, left is quieter). “Fuzz” controls the amount of fuzz/distortion in the circuit (left is less, right is more). The side push switch toggles between two modes: Standard and More (More adds bass/gain and results in a more full, heavy fuzz/distortion tone). The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 46mA. This pedal requires 9V DC negative center. 46mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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The ROSS Phaser is a versatile and easy to use OTA-based phaser and is a faithful reproduction of the original ROSS circuit. This pedal excels at vintage phase tones: fast, slow and everything in between. If you need phasing that can sit perfectly in the mix, inspire a new riff or flawlessly replicate the past, this pedal is for you.  Features: Controls: “Rate” adjusts the speed of the LFO (left is slower, right is faster). “Recycle” controls the amount of feedback from the phaser output stage to the input stage, emphasizing frequencies or resonance (left is less intense, right is more intense). The side push switch toggles between two modes: classic Analog Phaser and Univibe (simulating the late sixties Shin-Ei circuit).The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 42mA. This pedal requires 9V DC negative center. 42mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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 Enjoy the washed out layers that only true amp style spring reverb can give you in the Spring Tank. This compact reverb pedal offers tons of settings to tweak, yet with utilitarian simplicity and usability.  Create the perfect spring reverb for your sound with controls for Depth, Length, Highs, Boost (to control your overall volume), and two independent and switchable reverb mixes called Tank 1 and Tank 2. With options a plenty and easy to use controls, blast your signal into the stratosphere! This pedal requires standard 9V DC Negative power, consumes 73mA, and measures 2.6"x4.8"x1.6"

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  This pedal kills your tone, and it does it brilliantly. The JHS Pedals Stutter Switch momentary mute pedal is a great option whether you’re looking for a kill-switch stutter effect, demand silent tuning while onstage, or need to fill any number of other purposes.    And best of all, there’s enough room on your pedalboard for this bite-sized button...almost. If you’re looking for a mute and prefer the immediate action of a momentary switch, the JHS Stutter Switch is the pedal for you.   The easiest way to describe a momentary switch is that it is active when depressed and non-active when not. So step on the Silent Switch when you want silence and step off when you don’t. There are so many applications for a pedal like this. It’s up to you how you use it.   SPECIFICATIONS A simple mute for players who demand momentary control Offers stuttering effects, silent tuning, and more Small size is ideal for saving pedalboard space - 1” x 2” x 2” Built rugged This pedal does not require power and measures 2"x2"x1"

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 The Summing Amp gives you the ability to take two inputs and blend them into one output. Simply plug into the two marked inputs and then plug in your single output and you’re ready to go.  From two signals the Summing Amp creates one mono signal. This is perfect for putting effects in parallel so that they are not affected by one another.  The Summing Amp can 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. 

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 Supro tones in a pedal and a whole lot more. This discreet circuit does everything from clean boost to sagging exploding small amp distortion with ease. When JHS released the Superbolt in 2012, they never dreamed that it would become one of the most recognized and distinguished pedals in our history. Turns out there are guitarists all over the world that are loving the 60s-era Supro amp-in-a-box tones that this pedal churns out.  In designing the pedal, JHS paid very close attention to the feel and sound that made the original amps the go-to combos for players like Jimmy Page, Brian Setzer, and Switchfoot’s Drew Shirley.  And with the SuperBolt Version 2, they’ve upped the ante by giving you access to their versatile Gain boost circuit via the front-mounted toggle or their own JHS Red Remote footswitch (sold separately). 

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 The Sweet Tea V3 is for anyone who wants a versatile overdrive/distortion that covers all the bases you need plus more. You’ll find medium-to-high gain tones and the ability to stack for the perfect way to melt faces. This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 4.7" X 3.7" X 1.5".

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 The Switchback is a small unassuming box with a massive feature set. It began its life as a device that JHS designed just for themselves to test and compare pedals in the JHS workshop but they soon realized that it was extremely useful for everyone’s guitar rig.  It has one input, one output and two selectable effects loops, plus an A/B toggle that is controllable by our Red Remote switching system. The foot-switch is 100% true bypass, so when it’s off, it's not affecting your signal in any way.

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 The AT is Andy Timmons' signature overdrive pedal that gives Andy his unmistakable lead and rhythm tone. Upon purchasing a JHS Angry Charlie in 2013, Andy began using it as his primary tone and soon after got in touch with Josh Scott about modifying it for his needs.  Tailoring it to Andy’s tastes, the “@“ was born and eventually released into production. This pedal gives you all the soaring overdrive and distortion that you hear from Andy with plenty of options to craft your tone with your rig. FEATURES This pedal requires standard 9V DC Negative power, consumes 15 mA, and measures 2.2"x4.8"x1.6" You can safely run “The AT“ at 18 or 9 volts

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  In 2016 JHS brought you Andy Timmons’ artist signature pedal, the AT or @, and we're really proud to bring you the next iteration of this phenomenal stomp box: The AT+. The JHS Pedals AT is Andy Timmons’ signature overdrive pedal that gives Andy his unmistakable lead and rhythm tone. Upon purchasing a JHS Angry Charlie in 2013, Andy began using it as his primary tone and soon after got in touch with Josh Scott about modifying it for his needs. By collaborating to tailor the pedal to Andy’s tastes, the “@“ was born and released in 2016. This pedal gives you all the soaring overdrive and distortion that you hear from Andy with plenty of options to craft your tone with your rig. So pay ATtention and we’ll see what makes the AT rock. Features: Controls: Volume, Drive, EQ, Air, Boost, Toggle Connections: 1/4” Input jack, 1/4” jack Output jack Current Draw: 15mA consumption Power: Uses 9V to 18V DC Negative Center. This pedal CAN be run at 18V for more headroom and greater dynamics. Do not use more than 18V DC.   

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 When StuG wanted a dirt box that could essentially cover any ground for his studio work and extensive touring gigs, the Kilt was born. The V2 refines it to be a compact and versatile tone-machine, and it still has that same fantastic circuit at heart: a heavily tweaked Expandora style dirt box that gives you a ton of tonal options. A specifically chosen op-amplifier offers super low noise, improved slew rate for a smoother structure, and a character that just feels better than the original. FEATURES When both toggles are down, you are in the lightest gain setting. Amp-like chimey breakup.  G1 flipped up adds a touch of drive for more riffy grit. G2 flipped up puts you almost into distortion land, with more saturation and sustain for lead tones. Both toggles flipped up sends the Kilt V2 into almost uncontrollable gated fuzz/distortion that will cut through anything Power Requirement: 9V DC Negative Power Dimensions: 2.6" X 4.8" X 1.6" (6.6cm X 12.19cm X 4.06cm)

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 Have you ever ridden the sonic waves of a vintage Fender blackface or Vox tremolo flowing like water from the speaker? Then you know that this kind of tone can make you feel like you’re sailing on a million-dollar yacht.  The Tidewater Tremolo faithfully recreates this beloved amp tremolo with warmth and character you would only expect from a vintage amp. With simple controls and a small footprint, you’ll be sailing the high seas of tone with the Tidewater Tremolo. This pedal requires standard 9V DC Negative power, consumes 3 mA, and measures 3.6"x1.5"x1"

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  The Twin Twelve channel drive is the first ever all-analog stompbox to replicate the classic tones of the Silvertone 1484 "Twin Twelve" amplifier. The pedal’s sound and response are meticulously hand-tuned to achieve a striking similarity to the tones made famous by players such as Jack White, Beck, Coldplay, and others. With its ability to go from a spanky, clean preamp boost to a classic growling medium/heavy overdrive, the “Twin Twelve” V2 is a great option for the do-it-all overdrive spot on your pedalboard.   If you love pedals that can perform two tonal jobs in one, you’re going to love the Dirt/Clean. In the Dirt mode, you’ll enjoy the gritty amp-like tones of the cranked Silvertone. Flip the switch to Clean, and you’re instantly bathing in the sound of a clean preamp that works great as a boost or as an always-on tonal enhancement.   You can access both the Clean and Dirt circuits right in the middle of the song by hooking up your “Twin Twelve” to a JHS Red Remote footswitch (sold separately). The Red Remote’s tiny footprint barely takes up any precious real estate on your pedalboard, while offering on-the-fly switching of the “Twin Twelve’s” two voices. Two great tones, very little pedal space.   SPECIFICATIONS Power:    Standard 9V DC Negative Power Consumption:    34mA Dimensions:    2.2" X 4.8" X 1.6"

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 Pink Floyd’s “Breathe,” Jimi Hendrix’s “Star-Spangled Banner live at Woodstock 1969," and Robin Trower’s “Bridge of Sighs” cemented the sound of a photocell-based vibe effect as an electric guitar standard.  The JHS Pedals Unicorn is their version of this heralded effect, continuing the inspiring modulation/phasing/rotary sounds that never fail to push musical boundaries. And just like the originals, they've included a toggle for choosing between a Uni-Vibe* effect and a traditional vibrato setting.  What sets Unicorn apart from all other vibe-style circuits is that it is the first-ever fully analogue, photocell-based vibe with tap tempo as well as ratio, external tap control, and external rate control via expression pedal (optional). And the Unicorn does it all with only four knobs and a mini-toggle switch.  In a day and age when everything has been seen and done, JHS brings you the first-ever, 100% analogue vibe photocell modulator with onboard tap tempo. This pedal requires standard 9V DC Negative power, consumes 100mA, and measures 2.2"x4.8"x1.6".  

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The ROSS Phaser is a versatile and easy to use OTA-based phaser and is a faithful reproduction of the original ROSS circuit. This pedal excels at vintage phase tones: fast, slow and everything in between. If you need phasing that can sit perfectly in the mix, inspire a new riff or flawlessly replicate the past, this pedal is for you. Features: Controls: “Rate” adjusts the speed of the LFO (left is slower, right is faster). “Recycle” controls the amount of feedback from the phaser output stage to the input stage, emphasizing frequencies or resonance (left is less intense, right is more intense). The side push switch toggles between two modes: classic Analog Phaser and Univibe (simulating the late sixties Shin-Ei circuit).The footswitch activates the pedal via soft touch bypass switching and the status LED indicates that the circuit is active. Jacks: The ¼” input and output jacks connect your guitar and amplifier. The power jack accepts standard 9V DC Negative Center power and consumes 42mA. This pedal requires 9V DC negative center. 42mA consumption. Do not use more than 9V DC. Dimensions: 3.5" W x 1.7" D x 5" H

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 Whitey Tighty compressor is JHS' take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down. This pedal is as simple as it gets while never getting in the way. At only 1” x 3”, you’ll save so much space on your rig that you’ll be able to add to your wardrobe of effects with ease.  With the ability to blend in compression and clean signal, you’ll be able to dial in the perfect sound that keeps everything in place. The Whitey Tighty is a FET compressor that has three simple controls: Volume, Compression, and Blend. The Volume control gives you the ability to set your volume at unity gain or slightly boosted to make up for any perceived loss from the compression. The Compression knob controls the amount of compression for everything from a subtle smoothing of your tone to a pleasing squash that’s perfect for country, blues, pop, and rock.  Use the Blend knob to dial in the right amount of clean tone along with your compressed signal. This allows you to retain some of the natural feel of your clean tone while giving you the studio-quality compression that brings your sound to the next level.

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  The EVH Wah was developed after intensive design collaboration with the legendary guitarist, Eddie Van Halen. Our clones of the worn-in pot and hand-selected inductor give the new EVH Wah Wah the same ?Holy Grail? feel and tone.   FEATURES Modeled after Eddie's "Holy Grail" custom Cry Baby Custom designed inductor & potentiometer Designed in collaboration with Eddie Van Halen

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