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Introducing the JHS Pedals PackRat Distortion/Fuzz Effects Pedal Black - a versatile arsenal of distinctive, analog distortion tones. Inspired by the acclaimed ProCo Rat distortion, this stompbox offers nine authentic distortion modes, from mild overdrive to intense fuzz, allowing you to effortlessly navigate through diverse genres and playing styles.

The PackRat's design is an homage to the ProCo Rat and its legacy, with all modes utilizing analog parts and design elements from the original Rat. This ensures a dynamic, touch-sensitive response and organic tone. Furthermore, the PackRat's true bypass switching design maintains the integrity of your tone when the pedal is switched off, allowing your guitar's natural sound to shine through without any loss of high-end or signal integrity.

This pedal is built for musicians who crave a variety of distortion flavors, whether it's a subtle crunch for blues, a heavy saturation for metal, or a stinging fuzz for punk. Dial in your perfect tone with the PackRat's volume, filter, and distortion controls, and explore a spectrum of distortion tones, each with its own unique EQ voicing and gain structure.

Key Features:

• Analog distortion/fuzz/overdrive pedal with nine distinct modes
• Inspired by the ProCo Rat, offering a range of tones from mild overdrive to heavy fuzz
• True bypass switching design that preserves your tone when the pedal is off
• Dial in your perfect sound with Volume, Filter, and Distortion controls
• Ruggedly built and handwired for reliability
• Made in the USA

In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI: the Proco RAT. 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 mainstream product lines like MXR, DOD and BOSS. 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 Scofield, 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). If you purchased these nine hard-to-find pedals on the used market right now, you would pay around $4,000. When you put it that way, $249 sounds pretty reasonable.

Let’s take a look at the controls.

The operation of the PackRat is about as simple as it gets. The “Volume” control adjusts the overall volume of the pedal. The “Distortion” control lets you raise and lower the amount of gain or distortion that the circuit produces, and the “Filter” control allows you to brighten and darken the sound of the overall effect. This is effectively a simple, low-pass filter. Lastly, we have “Mode” control. This is a stepped pot that clicks into place as you scroll through the nine legendary versions of this circuit. As you change the mode, the analog circuitry is rewired, resulting in brand new values of resistors, capacitors, diodes and op amps.

DISCLAIMER:

Although I’ve put several years of research into the history, circuit topology and version history of the RAT, I know that my findings may still ruffle some feathers. I’m okay with that.

I have tracked down over 100 different RAT specimens for study, and I’ve performed almost twenty hours of interviews with former ProCo employees about the circuit design, evolution and production of this pedal series over the decades. And basically? A lot of the widely accepted “facts” about the differences in RAT versions, including some of my own beliefs, were wrong. Most assumptions about how specific RAT models sound different or better than the rest are, at best, misinformed. Generally speaking, they’re flat-out incorrect.

To find the facts and give this circuit the proper understanding it deserves, every RAT model ever made (and quite a few prototypes that never saw the light of day) were obtained and studied in great detail. I wanted to understand the exact production differences over the years, so we disassembled the units, analyzed them using state-of-the-art Audio Precision equipment, measured individual components, built comparison charts, traced each circuit and closely examined the branding, logos and other identifiers of change. As far as I know, no one has ever gotten close to the level of research that we performed between 2018 and 2021.

Reliable sites like Reverb.com had inaccurate timelines with incorrect pictures of the respective models. Even ProCo’s own history timeline was missing tons of details about the RAT variations that have been made over the past 40 years. And Wikipedia?… No. Just no.

There’s a reason for that.

A vintage unit is typically dated by reading the manufacturer codes on the back of the pedal’s potentiometers/knobs. Unfortunately, this is a flawed dating method. ProCo would have ordered thousands of potentiometers, and in doing so, many pedals were made with parts pulled from backstock at least two to three years older than the actual pedal being dated. In short, this means that you’ll see V1s, V2s, V3s with dates that overlap with each other’s true production years. Combine this with decades of people incorrectly “remembering” what RAT model sounds the best, and you have a historically inaccurate hot mess on your hands.

To properly build an accurate timeline and database of changes, I dated the pot codes, dated their components when possible, interviewed respective people involved in the eras of production and referenced over 1,000 online sales photographs, and studied the prototypes and the evolution of the engineers’ design ideas. I did everything possible to build an airtight case for my work and to not rely on any prior dates and timelines. The results may not be perfect, but they’re pretty darn close. See my full biographical timeline with photography and specific details of my work here.

The PackRat Modes

1. The OG V1 (1979-83)

The OG mode is a perfect recreation of the first production RATs ever made. This era of roughly four years covers what is referred to historically as the V1 models.

Early V1s are also known as the Fringe Logo model and can be identified by the letters R-A-T being in all capital letters with a slight fringe graphic coming from the typeface. The V1 also has small silver capped knobs and a Tone knob instead of the more familiar and later produced V2 Filter control labeling. From a circuitry standpoint, the V1 and V2 Big Box models are practically identical except that the V1's Tone control increases treble as you turn clockwise while the V2's Filter control decreases treble in that direction.

When switching to the OG mode, you are activating the exact circuitry of my 1979 V1 Fringe Logo model, including the accurate Tone control rotation and taper.

Let me take a moment here to clarify: the V1 and V2 models are the exact same circuit, and simple adjustments to the Tone/Filter control can achieve identical sounds from each unit.

I know that the super nerds are going to ask why we didn’t include a Bud Box mode. Basically, I’d consider the Bud Box RAT to be a V1, because it is almost identical other than having an input buffer as well as a couple of extra parts.

2. White Face V3 (1984-1986)

In 1984, the RAT transitioned into a smaller square enclosure with a new white rectangle logo. The word RAT was in all black caps inside the white rectangle; this model gained the “White Face” RAT nickname due to this aesthetic. In 1986, this same model had a logo change that simply inverted the white and black colors, resulting in the more familiar white rectangle outline and font on the black enclosure.

This “White Face” model has gained a reputation as one of the holy grail RATs, and it even spawned a reissue in the nineties. The irony is that it is the same exact circuit as the previous Big Box V2 and the following “Black Face” 1986, as well as the 1989 RAT2. The “White Face” V3 update was a purely cosmetic change due to screen printing errors that needed to be solved. ProCo knew that the world wanted smaller pedals in the wake of brands like BOSS, DOD and Ibanez gaining more and more market share, and they wisely cashed in on the trend.

With this said, why would I put this particular version in my PackRat if it is not any different than the OG? For one, nostalgia is a powerful thing, and secondly, this mode will switch to the reverse orientation V2-V3 Filter control with an entirely different feel and experience. In many ways it widens what many consider the sweet spot for the most beloved RAT tones.

Like you, I want to believe in magic models of my favorite pedals, but sometimes the magic is just because we like the look or the user experience of one version over the other. It’s okay to admit that and move on.

3. Turbo V5 (1989)

The heart of the RAT’s tone comes from a design technique called symmetrical hard clipping. In this approach, a simple amplifier circuit amplifies the guitar’s signal and pushes it across a pair of clipping diodes. The result is that these diodes clip off the top of the waveform of the guitar and create a type of square wave distortion. Every RAT until 1989 utilized a typical silicon diode, just like the DOD 250 and BOSS DS-1, but the new Turbo RAT used LEDs (Light Emitting Diodes). Yup, these are the same LEDs you see in flashlights, your car’s dashboard, DVD players and almost every other electronic device on earth. This technique was a first in pedals (the same clipping style was used in the Marshall Guv'nor) and offered a completely new RAT experience.

The silicon diodes in previous versions have a lower forward voltage, resulting in a faster and more extreme clipping of the waveform. You could say this type of diode creates a very saturated tone. The Turbo’s LEDs have a much higher forward voltage, so they don’t activate or clip the signal as fast or as hard. It takes more signal to reach the point where they will “cut off” the waveform, which causes the phenomenon we know as touch sensitivity. You can set the Distortion lower, and as you play lightly, you will have an overdrive tone; dig into your guitar and play hard, and hear more clipping/distortion.

It is also worth noting that this model was the first RAT that offered the sloped enclosure that we see today. It also featured the new on/off status LED that had made its debut one year earlier in the 1988 RAT2.

4. BRAT V6 (1997)

In 1997 ProCo got into the budget pedal game by releasing the BRAT and the Guitar Center exclusive, Roadkill. These two identical circuits with different and very nineties grunge aesthetics have the most changes so far in the evolution of this legendary circuit.

This design added an input buffer circuit and soft clipping (inside the loop of the op amp) on top of the standard hard clipping of the previous RATs. We also see a return to the opposite taper/rotation Filter control and several capacitor value changes that alter the frequency response and characteristics of the distortion.

5. Dirty V7 (2004)

In 2002, ProCo released a 2-in-1 RAT pedal called the Deucetone. This pedal allowed you to have two completely separate RATs and activate them independently or stack them together. It also introduced two brand new sounds into the RAT topology: “Clean RAT” mode and “Dirty RAT.” Due to the popularity of the “Dirty RAT” mode, they released a single pedal called You Dirty RAT that featured that single setting in a standard sloped RAT enclosure. This circuit utilizes germanium diodes in the symmetrical hard clipping section of the circuit. This technique gives the most saturation and waveform clip-off of any version ever made.

In addition to the diode changes, this model has several different capacitor value changes resulting in a different distortion character and feel.

6. LA (1986)

In 1986, Ibanez released the 10 Series line of pedals that included three RAT style pedals. The Super Product and Fat Cat held the position of accurate and traditional RAT style pedals, while the quirkier LA Metal was, in my opinion, one of the best-modified RAT circuits of the eighties.

It includes a great input buffer, several key capacitor changes for frequency response, and no clipping diodes at all. The distortion is produced by overloading or “clipping the rails” of the op amp.

I don’t play LA Metal, and I’m guessing you don’t either, but I promise you will love this mode!

7. Landgraff MO’D (1999)

Between 1999-2000, a man named John Landgraff started building pedals by hand in Pensacola, FL. Each one painted with a unique swirl paint job and wired point to point; John’s pedals were and still are the true definition of boutique and gained a reputation for sounding amazing. His most popular pedal was the Landgraff Dynamic Overdrive, a take on the Ibanez Tube Screamer, but my favorite was his distortion pedal that he called the “MO’D,” a distant cousin of the RAT and a really fantastic pedal in its own right.

8. Caroline (2010)

A few years after starting JHS, I purchased a fascinating distortion pedal from a brand new company out of South Carolina. I remember jumping on the phone and geeking out with the designer and head of the company Philippe Herndon. We talked about the circuit, his love for RATs and his clever take on the circuit. That pedal was called the Wave Cannon and when I started the PackRat project, it was obvious that Philippe was the friend I should bring along for the ride.

9. JHS Mode

In 2003 I managed a tiny guitar shop in Northwest Alabama. One day a man walked in with a vintage Small Box RAT and said he wanted to sell it. When the shop’s owner said he wasn’t interested, I said I was. I bought that RAT for $15, and this is most likely the single event that led me down the pedal collecting rabbit hole. That pedal stayed on my board for a decade, and when I started modifying and building pedals in 2007, I opened it up, learned the circuit and modded it to reflect a different kind of sound. Parts of that modification became the now discontinued JHS All American and the long-running JHS PackRat modification that we performed on thousands of RAT pedals from 2008-2018. The JHS Mode lets me keep what makes the RAT unique and add in a few of my personal favorite mods.

Introducing the JHS Pedals PackRat Distortion/Fuzz Effects Pedal Black - a versatile arsenal of distinctive, analog distortion tones. Inspired by the acclaimed ProCo Rat distortion, this stompbox offers nine authentic distortion modes, from mild overdrive to intense fuzz, allowing you to effortlessly navigate through diverse genres and playing styles.

The PackRat's design is an homage to the ProCo Rat and its legacy, with all modes utilizing analog parts and design elements from the original Rat. This ensures a dynamic, touch-sensitive response and organic tone. Furthermore, the PackRat's true bypass switching design maintains the integrity of your tone when the pedal is switched off, allowing your guitar's natural sound to shine through without any loss of high-end or signal integrity.

This pedal is built for musicians who crave a variety of distortion flavors, whether it's a subtle crunch for blues, a heavy saturation for metal, or a stinging fuzz for punk. Dial in your perfect tone with the PackRat's volume, filter, and distortion controls, and explore a spectrum of distortion tones, each with its own unique EQ voicing and gain structure.

Key Features:

• Analog distortion/fuzz/overdrive pedal with nine distinct modes
• Inspired by the ProCo Rat, offering a range of tones from mild overdrive to heavy fuzz
• True bypass switching design that preserves your tone when the pedal is off
• Dial in your perfect sound with Volume, Filter, and Distortion controls
• Ruggedly built and handwired for reliability
• Made in the USA

Introducing the JHS Pedals PackRat Distortion/Fuzz Effects Pedal Black - a versatile arsenal of distinctive, analog distortion tones. Inspired by the acclaimed ProCo Rat distortion, this stompbox offers nine authentic distortion modes, from mild overdrive to intense fuzz, allowing you to effortlessly navigate through diverse genres and playing styles.

The PackRat's design is an homage to the ProCo Rat and its legacy, with all modes utilizing analog parts and design elements from the original Rat. This ensures a dynamic, touch-sensitive response and organic tone. Furthermore, the PackRat's true bypass switching design maintains the integrity of your tone when the pedal is switched off, allowing your guitar's natural sound to shine through without any loss of high-end or signal integrity.

This pedal is built for musicians who crave a variety of distortion flavors, whether it's a subtle crunch for blues, a heavy saturation for metal, or a stinging fuzz for punk. Dial in your perfect tone with the PackRat's volume, filter, and distortion controls, and explore a spectrum of distortion tones, each with its own unique EQ voicing and gain structure.

Key Features:

• Analog distortion/fuzz/overdrive pedal with nine distinct modes
• Inspired by the ProCo Rat, offering a range of tones from mild overdrive to heavy fuzz
• True bypass switching design that preserves your tone when the pedal is off
• Dial in your perfect sound with Volume, Filter, and Distortion controls
• Ruggedly built and handwired for reliability
• Made in the USA

Swirling vibrato effects, brings up those those Hendrix and early Trower tones. Couple this with your favorite amp and throw in the distortion or fuzz and you can start your own Band of Gypsy's. There are seperate controls for both chorus and vibe. Lots of room in the Rate and Depth to find your own sound. You can also get some Leslie- type vibrato sounds with a little tweaking.

Sepcifications:

Case Dimension ......................... 142 x 98 x 37 mm

Weight .................................... 0.55kg

Power Suppy ............................. DC9V or 6F22 battery

Current Drain ............................ 4mA

Input Impedance ........................ 500k ohm

Output Impedance ...................... 10k ohm

Swirling vibrato effects, brings up those those Hendrix and early Trower tones. Couple this with your favorite amp and throw in the distortion or fuzz and you can start your own Band of Gypsy's. There are seperate controls for both chorus and vibe. Lots of room in the Rate and Depth to find your own sound. You can also get some Leslie- type vibrato sounds with a little tweaking.

Sepcifications:

Case Dimension ......................... 142 x 98 x 37 mm

Weight .................................... 0.55kg

Power Suppy ............................. DC9V or 6F22 battery

Current Drain ............................ 4mA

Input Impedance ........................ 500k ohm

Output Impedance ...................... 10k ohm

Swirling vibrato effects, brings up those those Hendrix and early Trower tones. Couple this with your favorite amp and throw in the distortion or fuzz and you can start your own Band of Gypsy's. There are seperate controls for both chorus and vibe. Lots of room in the Rate and Depth to find your own sound. You can also get some Leslie- type vibrato sounds with a little tweaking.

Sepcifications:

Case Dimension ......................... 142 x 98 x 37 mm

Weight .................................... 0.55kg

Power Suppy ............................. DC9V or 6F22 battery

Current Drain ............................ 4mA

Input Impedance ........................ 500k ohm

Output Impedance ...................... 10k ohm

Introducing the DigiTech Drop Polyphonic Drop Tune Pedal, a game-changing addition to your guitar gear. This innovative pedal allows you to drop your tuning at the stomp of a footswitch, providing an effortless transition to a lower, chunkier tone without the need to adjust your guitar's tuning pegs or change guitars.

The pedal uses an advanced polyphonic drop tune algorithm to deliver an array of pitch drops from one semitone down to a full octave. This means you can experiment with tunings as low as Drop C or even Drop A while maintaining the playability and string tension you're accustomed to.

Beyond its pitch shifting capabilities, the Drop offers a mini toggle switch that allows you to select either latching or momentary mode. This means you can use the footswitch to engage the drop tune effect only while pressed, opening up a world of creative possibilities from trills to pitch dips.

Designed with your needs in mind, the Drop boasts an intuitive user interface and high-quality components. You'll appreciate the easy-to-read LED display, sturdy metal footswitches and chassis, and true bypass circuitry that maintains your tone when the effect is not engaged.

Key Features:

• Advanced polyphonic drop tune algorithm for precise pitch shifting
• Drop tune settings from 1 to 7 semitones down, plus additional settings for one octave down with or without dry signal
• Mini toggle switch for selecting between latching or momentary mode
• True bypass circuitry for preserving signal integrity and tone when not engaged
• Sturdy metal housing for durability
• Easy-to-read LED display for convenient monitoring
• Includes 9V DC power supply
• Ideal for creative guitarists looking to experiment with pitch modulations and effects.

Introducing the DigiTech Drop Polyphonic Drop Tune Pedal, a game-changing addition to your guitar gear. This innovative pedal allows you to drop your tuning at the stomp of a footswitch, providing an effortless transition to a lower, chunkier tone without the need to adjust your guitar's tuning pegs or change guitars.

The pedal uses an advanced polyphonic drop tune algorithm to deliver an array of pitch drops from one semitone down to a full octave. This means you can experiment with tunings as low as Drop C or even Drop A while maintaining the playability and string tension you're accustomed to.

Beyond its pitch shifting capabilities, the Drop offers a mini toggle switch that allows you to select either latching or momentary mode. This means you can use the footswitch to engage the drop tune effect only while pressed, opening up a world of creative possibilities from trills to pitch dips.

Designed with your needs in mind, the Drop boasts an intuitive user interface and high-quality components. You'll appreciate the easy-to-read LED display, sturdy metal footswitches and chassis, and true bypass circuitry that maintains your tone when the effect is not engaged.

Key Features:

• Advanced polyphonic drop tune algorithm for precise pitch shifting
• Drop tune settings from 1 to 7 semitones down, plus additional settings for one octave down with or without dry signal
• Mini toggle switch for selecting between latching or momentary mode
• True bypass circuitry for preserving signal integrity and tone when not engaged
• Sturdy metal housing for durability
• Easy-to-read LED display for convenient monitoring
• Includes 9V DC power supply
• Ideal for creative guitarists looking to experiment with pitch modulations and effects.

Discover the Roland SP-404MKII, the ultimate creative sampler and effector designed for beatmakers and musicians. This compact music powerhouse enhances your workflow with its rapid boot-up time, swift project loading, and streamlined process for importing and editing samples. Its vivid OLED screen offers visual waveform editing and swift menu navigation, making your music creation process intuitive and efficient.

The SP-404MKII features 17 highly responsive, RGB-lit pads that offer a tactile and expressive control over your music, making beat creation and sample triggering a breeze. With 16GB of internal storage, you have ample room for your samples, patterns, and projects.

Adding a unique flavor to your sounds, the SP-404MKII houses an extensive collection of onboard effects such as Vinyl Simulator, DJFX Looper, and new additions like Lo-fi, Cassette Simulator, and Resonator. It also offers advanced sequencing tools, including adjustable quantize, shuffle control, and BPM-per-bank, allowing you to create patterns with unique feel and energy.

Key Features:

• 17 RGB-lit, highly responsive pads for expressive control
• Vivid OLED screen for visual waveform editing and swift menu navigation
• 16GB of internal storage for samples, patterns, and projects
• Extensive collection of onboard effects for sound manipulation
• Advanced sequencing tools for creating unique patterns
• Dual headphone outputs for collaboration
• Updated resampling workflow for re-recording patterns and effects layers
• USB-C port for connection to mobile devices
• DJ mode for live performance capabilities
• 16 velocity-sensitive, 9-color RGB pads for finger drumming, sample triggering, and launching patterns
• A library of 144 pre-loaded samples and patterns across 9 banks
• Skip Back Sampling captures up to 40 seconds of a performance
• Up to 4 pads can be triggered simultaneously with Pad Link
• Adjustable input quantization and shuffle
• BPM can be set per-bank for scripted tempo changes
• Version 3 performance, workflow, and feature enhancements

The ultimate SP is here.

Roland SP samplers are the bona fide kings of performance-based beatmaking, celebrated for their distinctive sound and ability to create rapid-fire beats anywhere, anytime. Carefully refined through community feedback and extensive research and development, the SP-404MKII is the ultimate SP sampler. It’s faster and better than ever, with a vivid OLED display, expressive new pads, expanded effects, fluid sequencing and sampling, and a massive library of authentic sounds to inspire your music.

Bigger, better, faster, stronger.

The SP-404MKII has everything people love about its predecessor—with some serious upgrades like 17 ultra-expressive pads and updated knobs for smooth, hands-on control. And beatmaking is even quicker with speedy boot time, swift project loading and sample import, and easy project access via 16 GB of internal storage. Longtime users and new beatmakers alike will feel right at home with the intuitive layout and classic SP effects, plus a revamped sampling and sequencing workflow, Skip Back Sampling for quick performance capture, DJ mode to mix beats live, and more.

Guerilla beatmaking.

People who make music with SP samplers love the rapid workflow, portability, and tactile approach they offer. The SP-404MKII takes this experience even further, retaining the lightweight-yet-rugged design while adding features that make it even easier to create in any scenario. Bang out beats anywhere with AA or mobile battery power, capture audio from or stream direct to your mobile device via USB, or collaborate with a partner using the dual headphones outputs and mic/guitar input.

A sampler with soul.

With the SP404MKII’s vivid OLED screen and zoomable waveform view, sample editing is smooth like butter. Chop up samples by tapping out edit points in real time, or use auto chop to slice samples automatically. Then finesse them with envelope and pitch shift, and use the new resampling workflow to re-record patterns and effects layers for detailed sound design. And with Skip Back Sampling, you can instantly grab those golden moments by capturing up to 25 seconds of audio from your last performance.

All about effects.

Process, flip, and twist your sounds with legendary SP effects and a selection of new classics. SP staples like Vinyl Simulator and DJFX Looper are now joined with powerful additions that include Lo-fi, Cassette Simulator, and Resonator. Layer and route multiple simultaneous bus effects for intricate sound textures, or plug into the mic/guitar input and jam with ready-to-go Vocoder, Auto Pitch, and Guitar Amp Simulator effects.

Performance-tuned sequencing.

The SP-404MKII gives you the flexibility to create patterns with unique feel and energy. There’s adjustable input quantize and shuffle for custom swing, Pad Link for firing off multiple samples with a single tap, a Roll button for variable note repeat, and BPM-per-bank for instant tempo changes. It’s also possible to organize patterns for different sets and chain them together to automate playback. With your hands freed up, you can stretch out on the SP effects controls or let rip on your favorite synth.

Sound stash.

Dive into beatmaking with the pre-loaded sounds in the SP-404MKII's blazing-fast 16 GB of internal memory. There's a huge collection of curated samples to choose from and plenty of room to augment them with your private sound stash. And you can now load even more sounds at once, with 160 samples across each project for expanded performance and beatmaking combinations.

Break beats. Not banks.

You shouldn't need to take out a bank loan to make beats or produce tracks. The SP-404MKII is more powerful and more affordable than ever, making it easy to add its rapid workflow and characteristic sound to your existing setup. And with all it can do, the SP-404MKII may be the only piece you need for production and performance.

Customize it.

You work hard to be a unique artist—so why play on cookie-cutter gear that looks like everyone else’s? Personalize your SP-404MKII with your own style or branding for a look that's as distinctive as your sound. Grab the faceplate template to create custom overlays, style your startup screen with personalized logos, or select a screensaver that matches your vibe.

SP-404MKII App, Sample Packs, and more on Roland Cloud.

Download the SP-404MKII App from Roland Cloud Manager to go even deeper with your Mac or Windows computer. Access more detailed waveform editing, assign samples to pads, and import MIDI files and legacy SP-404SX and SP-404A projects for remixing and updating. And while you’re there, check out our exclusive Beatmaker Sample Pack series for more sonic material from legendary sound designers and musicians to inspire your next production.

Our exclusive collaboration with The Beach Boys

Thank you for supporting our tone endeavor with The Beach Boys, this collection is sold out.

Surf’s Up is a new collaboration between The Beach Boys and Benson Amps, sold exclusively through Sweetwater.

It is an all tube spring reverb and optical tremolo unit. The reverb features a long, two spring tank and a short, three spring tank that are blend-able, inspired by Brian Wilson’s infamous production technique of blending two instruments together. The optical tremolo is based on the mid-sixties large combo amp sound, and features an extended range of tremolo speeds. While being a nod to the 60s surf sound, the Surf’s Up sets a new bar for the technology of surf effects. Not content to make a clone, we incorporated modern functional and tonal improvements (like trails) when the reverb is switched off, no volume loss when the tremolo is engaged, and low source impedance which means that none of the sound is lost between the spring tank and the amplifier.

With noise being a consideration for spring reverbs, a modern ground scheme from the world of hi-fi was incorporated to prevent any noisy ground loops. We also tapped Soursound to design a custom transformer set… A power transformer with low flux density in mind to prevent hum from entering the reverb tanks, and a custom bifilar reverb driver transformer to drive the two tanks.

We discovered that a piece of electrostatic film placed between the neon lamp and the photoresistor in the LDR greatly reduces the tremolo ticking sound the classic circuit is infamous for. There is a two button LED footswitch as well for both the reverb and the tremolo.

Meet the Keeley Magnetic Echo Delay, the perfect companion for the discerning guitarist seeking authentic tape echo sounds. Simulating vintage tube tape echo, this pedal uses the revered PT-2399 chip and a dash of modulation to create warm, guitar-friendly delay tones.

With Magnetic Echo Delay, you get to experience the charm of Lo-Fi delay, filtered echo response, and just the right amount of modulation. The modulation, also known as "Wow and Flutter" in the tape world, is a subtle pitch shift or wavering that occurs as the simulated tape is pulled across the heads. This is similar to the modulation used in Keeley's renowned Seafoam Chorus, adding a soft wavering of pitch to the echoes' trails.

The Magnetic Echo comes with a straightforward set of controls for the delay – Time, Regen, and Level, along with the "Wow and Flutter" controls – Depth and Rate. These allow you to craft vintage or uniquely modern tones. The Delay Time control lets you set the length of your repeats between 40ms and 600ms, ideal for creating classic, vintage delay sounds. The Regen control adjusts the number of repeats, allowing for anything from a single slap back echo to a runaway, self-oscillating echo. The Level control determines the mix and how loud you want your echoes to be.

Key Features:

• PT-2399 chip for authentic tape echo simulation
• Modulation feature for unique "Wow and Flutter" effects
• Simple, intuitive controls for delay - Time, Regen, and Level
• Depth and Rate controls for modulation
• Delay Time control range: 40ms to 600ms
• Regen control for adjusting number of repeats
• Level control for adjusting echo mix
• Ideal for creating vintage and modern tones

Meet the Keeley Magnetic Echo Delay, the perfect companion for the discerning guitarist seeking authentic tape echo sounds. Simulating vintage tube tape echo, this pedal uses the revered PT-2399 chip and a dash of modulation to create warm, guitar-friendly delay tones.

With Magnetic Echo Delay, you get to experience the charm of Lo-Fi delay, filtered echo response, and just the right amount of modulation. The modulation, also known as "Wow and Flutter" in the tape world, is a subtle pitch shift or wavering that occurs as the simulated tape is pulled across the heads. This is similar to the modulation used in Keeley's renowned Seafoam Chorus, adding a soft wavering of pitch to the echoes' trails.

The Magnetic Echo comes with a straightforward set of controls for the delay – Time, Regen, and Level, along with the "Wow and Flutter" controls – Depth and Rate. These allow you to craft vintage or uniquely modern tones. The Delay Time control lets you set the length of your repeats between 40ms and 600ms, ideal for creating classic, vintage delay sounds. The Regen control adjusts the number of repeats, allowing for anything from a single slap back echo to a runaway, self-oscillating echo. The Level control determines the mix and how loud you want your echoes to be.

Key Features:

• PT-2399 chip for authentic tape echo simulation
• Modulation feature for unique "Wow and Flutter" effects
• Simple, intuitive controls for delay - Time, Regen, and Level
• Depth and Rate controls for modulation
• Delay Time control range: 40ms to 600ms
• Regen control for adjusting number of repeats
• Level control for adjusting echo mix
• Ideal for creating vintage and modern tones

Experience the timeless classic reborn with the Electro-Harmonix Big Muff Pi V3. Hailing from the late '70s, this iconic fuzz effects pedal revives the legacy of its predecessors, the "Tri-Muffs" and the "Ram's Head" Muffs. Infused with the same classic fuzz tone, this reissue stays faithful to its roots while offering an updated circuitry for the modern musician. Its rich, creamy distortion is a testament to its history, a beloved signature sound that helped shape the "wall of guitars" sound of The Smashing Pumpkins. The Big Muff Pi V3 is more than just a pedal; it's a piece of music history that continues to inspire and captivate musicians around the world.

Key Features:

• Classic fuzz tone, a signature of the Electro-Harmonix Big Muff series
• Updated circuitry for enhanced performance and reliability
• Late '70s iteration, a faithful reissue of the iconic "Op Amp Muff"
• Famed for its use by Billy Corgan in creating The Smashing Pumpkins' "wall of guitars" sound

This fine distortion device is high on sustain and low on distortion. It is designed for the guitarist who wants his axe to sing like a hummingbird with a sweet violin-like sustaining sound. The sustain control allows the player to optimize long sustain with a hint of harmonic distortion. Jimi Hendrix relied on the Big Muff for his smooth, mellow, supple electric-lady sound. Whole chords can be played with minimum distortion. Housed in rugged, brushed-steel chassis with a non-slip rubber matting. Comes with battery.

Experience the combination of functionality and portability with the Roland A-49 MIDI Keyboard Controller, a perfect companion for the mobile musician. This lightweight keyboard controller is an optimal choice for musicians seeking a practical, user-friendly MIDI keyboard with a professional-grade playing feel.

The A-49 is a slim-line controller that features a full-size, high-quality, velocity-sensitive keyboard, ensuring a superior response to your touch and smoother glissandi. It is engineered to not only reduce the mechanical noise but also eliminate vertical shake, delivering an unruffled playing experience even for the most discerning pros.

This keyboard controller is not just about its remarkable keys. It's also about the superb controls it provides. The A-49 is equipped with assignable knobs and switches, octave and transpose buttons, sustain and expression pedal inputs, and Roland's unique bend/mod lever and D-BEAM controller.

Designed for mobile use, the A-49 weighs less than 6 lbs, making it easy to transport. It operates via your computer's USB bus, eliminating the need for a separate power cable or adapter. The A-49 also provides clean connections via its recessed rear panel, allowing you to place a computer monitor or laptop in the ideal position for music creation.

Key Features:

• High-quality, velocity-sensitive, full-size keyboard with 49 keys
• Lightweight and portable design for easy transport
• Assignable knobs and switches for enhanced control
• Onboard Roland's bend/mod lever and D-BEAM controller
• Powered by your computer's USB bus, no separate power cable or adapter needed
• Compatible with Mac, Windows, and iOS on the iPad (via optional Apple iPad Camera Connection Kit)
• Comes bundled with Ableton Live Lite software for immediate music production.

There's no shortage of portable MIDI keyboard controllers on the market, but portability in some cases, that means you get subpar keyboard action. M-Audio's engineers wanted to ensure that the A-49 is not one of them. It's a lightweight, slim-line controller which features a premium-grade, full-size keyboard. It's a dream for musicians seeking a simple, easy-to-use MIDI keyboard with pro-quality playing feel.

Great Keys, Great Controls

The A-49's keys have a rounded shape for better reaction to the player's touch and more comfortable glissandi. Other enhancements have been made to reduce the already low mechanical noise and eliminate vertical shake. All of these features add up to a keyboard that even the most discerning pros will appreciate. Add color to your sound and excitement to your performance by waving your hands over the invisible D-BEAM. The A-49 can assign all its controllers automatically for fully utilizing an external SuperNATURAL sound module such as the INTEGRA-7. It's also a great second keyboard for controlling synthesizers that have onboard SuperNATURAL sounds, such as the JUPITER-80 and JUPITER-50 (sold separately).

Mobile Music

The A-49 was born for mobile use. It's strong yet amazingly lightweight (less than 6lb./2.5kg), making it easy to lift and carry. And although it has a very streamlined design, the A-49 features a full-size, premium keyboard with 49 velocity-sensitive keys. For the ultimate in portable convenience, the A-49 is powered from your computer's USB bus - no power cable or adapter is required. It draws a minimal amount of current, which is ideal for a USB bus-powered device.

Make Music With Your Mac or PC

The A-49 provides clean connections via its recessed rear panel, so you can place a computer monitor or laptop in the perfect position for creating music. Two knobs, two switches, and the D-BEAM controller are all easily accessible and intelligently arranged to make your workflow fast and fluid. Dedicated octave buttons offer immediate control of the key scale, and a transpose button is provided for adjusting the scale in semitone steps; LED indicators give you instant visual feedback of your octave/transpose settings. Other settings can be accessed via the Function button, which lets you use the keys to perform additional tasks printed above the keyboard.

Perfect for the iPad*

Recently, many musicians have gravitated toward their Apple iPads to record musical ideas. While there are small MIDI keyboards that can be used with the iPad, the A-49 gives you pro playability as well as mobility. Its clean, clutter-free surface and excellent feel keeps your fingers on the keys and your mind on the music.

*The A-49 can be connected to the iPad via Apple's iPad Camera Connection Kit (sold separately).

It comes bundled with Cakewalk SONAR LE software.

LITTLE BROTHER TO THE COLOUR BOX

The JHS Pedals Colour Box began with a simple idea: create a pedal that sounds like plugging directly into a vintage preamp and cranking it. No amp, no speaker, just DI goodness. Well, the Colour Box became much more as we got into designing it. Thus we decided it was time to pare it down and give guitar players and bass players a simplified version that gives you the distinct compressed overdrive and fuzz sounds you’ve heard on so many classic recordings. The Crayon is just that, a powerful little box that has all the color and characteristics of a vintage studio preamp when cranked.

CONTROLS

The Crayon has controls for Master, Pre-Vol, Tilt, and a Hi-Pass toggle. The Master volume controls the overall volume of the unit, while the Pre-Vol acts as a gain control to go from a gritty preamp drive to over-the-top gated fuzz. These controls work together to create a ton of colorful tones that are extremely useful. The Tilt control is an active EQ where when set at 12 o’clock you have a flat EQ, while turning clockwise boosts highs and cuts bass, and turning counterclockwise boosts bass and cuts highs. This gives the Crayon the ability to be tailored to any rig for bass or guitar. The Hi-Pass toggle cuts your low end with a flick of the switch for the ability to cut through the mix or get lo-fi sounds. There is a dip switch on the right side of the pedal to choose either 200Hz or 750Hz cut for the Hi-Pass.

FEATURES

• Preamp DI tones from low gain grit to gated fuzz.

• Active EQ for the perfect tones on bass or guitar.

• Hi-Pass for lo-fi AM radio sounds.

• Paint with all the colors of the wind.

The JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need!

__ THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 15MA, AND MEASURES 2.6"X4.8"X1.6"__

LITTLE BROTHER TO THE COLOUR BOX

The JHS Pedals Colour Box began with a simple idea: create a pedal that sounds like plugging directly into a vintage preamp and cranking it. No amp, no speaker, just DI goodness. Well, the Colour Box became much more as we got into designing it. Thus we decided it was time to pare it down and give guitar players and bass players a simplified version that gives you the distinct compressed overdrive and fuzz sounds you’ve heard on so many classic recordings. The Crayon is just that, a powerful little box that has all the color and characteristics of a vintage studio preamp when cranked.

CONTROLS

The Crayon has controls for Master, Pre-Vol, Tilt, and a Hi-Pass toggle. The Master volume controls the overall volume of the unit, while the Pre-Vol acts as a gain control to go from a gritty preamp drive to over-the-top gated fuzz. These controls work together to create a ton of colorful tones that are extremely useful. The Tilt control is an active EQ where when set at 12 o’clock you have a flat EQ, while turning clockwise boosts highs and cuts bass, and turning counterclockwise boosts bass and cuts highs. This gives the Crayon the ability to be tailored to any rig for bass or guitar. The Hi-Pass toggle cuts your low end with a flick of the switch for the ability to cut through the mix or get lo-fi sounds. There is a dip switch on the right side of the pedal to choose either 200Hz or 750Hz cut for the Hi-Pass.

FEATURES

• Preamp DI tones from low gain grit to gated fuzz.

• Active EQ for the perfect tones on bass or guitar.

• Hi-Pass for lo-fi AM radio sounds.

• Paint with all the colors of the wind.

The JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need!

THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 15MA, AND MEASURES 2.6"X4.8"X1.6"

Immerse yourself in the world of legendary guitar tones with the JHS Crayon. Inspired by the iconic British console distortion that graced the Beatles' "Revolution 1," this compact pedal delivers a range of sounds from gentle warmth to chaotic overdrive. It's a simplified, more affordable sibling of the JHS Colour Box, designed to recreate the unique Direct-In Distortion from plugging a guitar directly into a British-style preamp.

The JHS Crayon is a versatile tool that serves up more than just fuzz tones. Its Master, Pre, and Tilt controls offer an easy-to-use layout for shaping your sound. The Master regulates the overall output, while the Pre control adjusts the drive or fuzz, responding to your playing dynamics. The Tilt, an active tone control, manipulates the balance between bass and treble, allowing for significant tone shaping.

For additional flexibility, the pedal features a Hi-Pass toggle switch with selectable frequencies at 200Hz and 750Hz. This feature enables cutting of low frequencies for a more aggressive tone, adding extra teeth to your sound. Beyond its fuzz capabilities, the JHS Crayon cleans up beautifully with your guitar's volume, making it an exceptional choice for players seeking multiple dirt tones.

Key Features:

• Master, Pre, and Tilt controls for comprehensive tone shaping
• Hi-Pass toggle switch for cutting low frequencies
• Based on the design of classic British console distortion
• 100% analog signal path for authentic sound
• True bypass for pure tone when the pedal is off
• Compact and sturdy metal housing for durability
• Made in USA, ensuring quality and reliability

LITTLE BROTHER TO THE COLOUR BOX

The JHS Pedals Colour Box began with a simple idea: create a pedal that sounds like plugging directly into a vintage preamp and cranking it. No amp, no speaker, just DI goodness. Well, the Colour Box became much more as we got into designing it. Thus we decided it was time to pare it down and give guitar players and bass players a simplified version that gives you the distinct compressed overdrive and fuzz sounds you’ve heard on so many classic recordings. The Crayon is just that, a powerful little box that has all the color and characteristics of a vintage studio preamp when cranked.

CONTROLS

The Crayon has controls for Master, Pre-Vol, Tilt, and a Hi-Pass toggle. The Master volume controls the overall volume of the unit, while the Pre-Vol acts as a gain control to go from a gritty preamp drive to over-the-top gated fuzz. These controls work together to create a ton of colorful tones that are extremely useful. The Tilt control is an active EQ where when set at 12 o’clock you have a flat EQ, while turning clockwise boosts highs and cuts bass, and turning counterclockwise boosts bass and cuts highs. This gives the Crayon the ability to be tailored to any rig for bass or guitar. The Hi-Pass toggle cuts your low end with a flick of the switch for the ability to cut through the mix or get lo-fi sounds. There is a dip switch on the right side of the pedal to choose either 200Hz or 750Hz cut for the Hi-Pass.

FEATURES

• Preamp DI tones from low gain grit to gated fuzz.

• Active EQ for the perfect tones on bass or guitar.

• Hi-Pass for lo-fi AM radio sounds.

• Paint with all the colors of the wind.

The JHS Pedals Crayon is without a doubt the brightest crayon in the box that will give your tone all the color you need!

__ THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 15MA, AND MEASURES 2.6"X4.8"X1.6"__

Discover the raw power of the Boss HM-2W Heavy Metal Waza Craft Distortion Effects Pedal, a reincarnation of the iconic '80s stompbox that defined a generation of heavy rock. This pedal is the secret weapon behind the authentic Swedish death metal analog tone, now enhanced for modern musicians.

In its Standard mode, the HM-2W flawlessly reproduces the legendary original HM-2 sound, including the notorious "chainsaw" grind, now with a lower noise level and 3dB more maximum output. It's the perfect tool for a wide range of heavy rock tones, from subtle to intense.

Go even heavier with the pedal's Custom mode, which delivers the HM-2W's signature sound with extra gain, low end, and a more defined distortion. This mode is your ticket to more modern and extreme metal territories, offering a heavier, fuller tone that's guaranteed to shake the room.

Lastly, the HM-2W is road-ready and built to last. Its durable metal chassis and footswitches are designed for rigorous use, and the iconic orange and black design is faithfully reproduced, making it a must-have addition to your gear collection.

Key Features:

• Special edition Waza Craft pedal for the ultimate Boss tone experience
• Authentic HM-2 appearance, faithfully reproducing the original design
• Standard mode delivers the original HM-2 sound with lower noise and maximized level
• Custom mode offers a more aggressive sound variation with added gain and low end
• Premium buffer for clean and clear tone when bypassed
• Built to endure with a durable metal chassis and footswitches
• Boss five-year warranty for guaranteed quality and durability.

A Metal Legend Returns

Produced from 1983 to 1991, the BOSS HM-2 Heavy Metal is a true legend in the history of distortion pedals. Its signature “chainsaw tone” with all knobs maxed is the defining voice of Swedish death metal, and the slightly milder sides of its personality can be heard on tracks from mainstream to shoegaze. After years of requests from hardcore HM-2 fans, the iconic stomp is now reborn three decades later in a special Waza Craft edition. The HM-2W delivers the authentic analog sound of the original in all its glory, coupled with lots of modern refinements for enhanced performance.

Standard Features

• Special edition Waza Craft pedal for the ultimate BOSS tone experience
• Authentic HM-2 appearance
• Standard mode delivers the original HM-2 tone with lower noise and maximized level
• Custom mode provides a more aggressive sound variation with special - Waza Craft tuning
• Premium buffer for clean and clear tone when bypassed
• BOSS five-year warranty

Death Metal Legend

When introduced in 1983, the HM-2 was one of the first “amp in a box” pedals ever, using an innovative BOSS circuit to replicate the sound of early ’80s British stack amps favored in the rapidly growing heavy metal genre. Near the end of its production run, seminal Swedish death metal bands adopted the HM-2 for their primary guitar tones, and its uniquely aggressive sound and focused midrange became highly sought after by a new generation of players. The pedal’s vast influence and popularity led to ongoing calls for BOSS to bring it back, and we’re pleased to present the HM-2W to all those devoted fans around the world.

Standard Mode: The Original HM-2 Sound

When the HM-2W is in Standard mode, the tone and response of the original HM-2 pedal is reproduced with 100-percent authenticity. We were also able to add some modern improvements without affecting the sound, including reducing the noise floor and expanding the maximum level by 3 dB. And with the premium Waza Craft buffer on board, the sound is improved when the pedal is bypassed. Cranking every knob all the way up is the sound of Swedish death metal, and you can conjure a wide range of tones for other styles with the sensitive distortion and color controls.

Get Even More Aggressive with Custom Mode

The HM-2W’s Custom mode offers a similar sound character to Standard mode, but with just a little more of everything. The drive stage has a bit more gain and includes more of the fundamental guitar sound for extra attack and sharpness. In addition, the low and high-mid characteristics have been tweaked to provide increased fullness and definition.

Orange and Black is Back

Along with the original HM-2 sound, we made every effort to capture the pedal’s distinctive orange and black appearance, right down to the size and position of lettering on the panel. Every Waza Craft pedal features a mode switch for extended range, and it’s been moved to the top on the HM-2W to preserve the authentic control layout of the HM-2.

Waza Craft: The Art of Superior Tone

Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analog circuits to high-tech DSP. This enthusiastic spirit continues on with the Waza Craft series, bringing you exceptional tone and touch response through carefully selected analog components, refined circuitry, and meticulous attention to detail. In Japan, “Waza” is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship.

MODERN DISTORTION

The JHS Hard Drive is the first attempt in our company’s fifteen-year history at a full-blown and respectable modern distortion pedal that is not based on a previous circuit or classic topology. In 2016, Josh had the idea to develop a circuit that covered the best high-gain distortion tones of the ’90s and 2000s, a sound that embodied the post-grunge alternative rock movement. We started by looking at pedals, then amps, and after exploring the typical paths of circuitry, we took a sharp turn and started from scratch. Eight years later, the pedal is finished and ready to take you to the next level. The Hard Drive goes harder and further than any gain or distortion we’ve released so far.

A FRESH APPROACH

A fresh approach to achieving high gain distortion in a pedal format, the Hard Drive includes cascaded gain stages and a hard limiting circuit, followed by a class AB amplifier section that drives a “sweepable midrange” EQ and Baxandall bass and treble controls. With its generous external controls, the Hard Drive lets you dial in everything from grinding tube amp crunch to a bona fide wall of distortion that can easily cut through any stage or studio mix.

HONORING CLIFF SMITH

The Hard Drive holds a special place in JHS history as the final design work of our former head engineer, Cliff Smith. The prototype and design had been finalized just weeks before he passed away in 2021.

“I don't know that there's ever been a JHS circuit where we experimented more. It was always a loose and casual approach to getting this right. I knew something great would come of it, so we just let it simmer…Cliff would call the Hard Drive circuit a mutt, and I agree– meaning this circuit is not a clone of anything in particular but rather an original iteration of tons of different inspirations and ideas, kind of like the Colour Box that he and I developed years earlier. I have vivid memories of Cliff spending entire weekends and nights tinkering and experimenting with this circuit. He would message me notes on the weekend when he got excited about something he stumbled into. This pedal was his hobby for a long time. He truly loved big, complicated gain staging and the challenge of making solid state circuitry respond like a valve amp. As a passion project that became a real product through Cliff’s consistent work, I can’t think of a more fitting last release from us as a design team than the Hard Drive. Cliff loved learning and this was his last masterclass. It’s an honor to finally put it out and let people enjoy the idea he brought to life.” - Josh Scott

Play HARD DRIVE $199.00 USD COLOR Hard Drive BLACK

Hard Drive BLACK Hard Drive TAN 1 Buy now with ShopPay Buy with MODERN DISTORTION The JHS Hard Drive is the first attempt in our company’s fifteen-year history at a full-blown and respectable modern distortion pedal that is not based on a previous circuit or classic topology. In 2016, Josh had the idea to develop a circuit that covered the best high-gain distortion tones of the ’90s and 2000s, a sound that embodied the post-grunge alternative rock movement. We started by looking at pedals, then amps, and after exploring the typical paths of circuitry, we took a sharp turn and started from scratch. Eight years later, the pedal is finished and ready to take you to the next level. The Hard Drive goes harder and further than any gain or distortion we’ve released so far.

A FRESH APPROACH A fresh approach to achieving high gain distortion in a pedal format, the Hard Drive includes cascaded gain stages and a hard limiting circuit, followed by a class AB amplifier section that drives a “sweepable midrange” EQ and Baxandall bass and treble controls. With its generous external controls, the Hard Drive lets you dial in everything from grinding tube amp crunch to a bona fide wall of distortion that can easily cut through any stage or studio mix.

HONORING CLIFF SMITH The Hard Drive holds a special place in JHS history as the final design work of our former head engineer, Cliff Smith. The prototype and design had been finalized just weeks before he passed away in 2021.

“I don't know that there's ever been a JHS circuit where we experimented more. It was always a loose and casual approach to getting this right. I knew something great would come of it, so we just let it simmer…Cliff would call the Hard Drive circuit a mutt, and I agree– meaning this circuit is not a clone of anything in particular but rather an original iteration of tons of different inspirations and ideas, kind of like the Colour Box that he and I developed years earlier. I have vivid memories of Cliff spending entire weekends and nights tinkering and experimenting with this circuit. He would message me notes on the weekend when he got excited about something he stumbled into. This pedal was his hobby for a long time. He truly loved big, complicated gain staging and the challenge of making solid state circuitry respond like a valve amp. As a passion project that became a real product through Cliff’s consistent work, I can’t think of a more fitting last release from us as a design team than the Hard Drive. Cliff loved learning and this was his last masterclass. It’s an honor to finally put it out and let people enjoy the idea he brought to life.” - Josh Scott

CONTROLS

Volume - Controls the overall volume of the pedal. Left is less, right is more.

Mid Freq - Controls which mid frequencies are boosted or scooped by the Mid control.

Drive (Distortion) - Controls the amount of drive (distortion). Left is less, right is more.

Bass - Controls the bass frequencies level. Noon is flat, left is cut, right is boosted.

Middle - Controls the mid frequencies level. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Freq control.

Treble - Controls the treble frequencies level. Noon is flat, left is cut, right is boosted.

Silent soft touch switching with a buffered bypass.

THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 78mA, AND MEASURES 2.6" X 4.8" X 1.6".

The JHS Hard Drive is the first attempt in our company’s fifteen-year history at a full-blown and respectable modern distortion pedal that is not based on a previous circuit or classic topology. In 2016, Josh had the idea to develop a circuit that covered the best high-gain distortion tones of the ’90s and 2000s, a sound that embodied the post-grunge alternative rock movement. We started by looking at pedals, then amps, and after exploring the typical paths of circuitry, we took a sharp turn and started from scratch. Eight years later, the pedal is finished and ready to take you to the next level. The Hard Drive goes harder and further than any gain or distortion we’ve released so far.

A FRESH APPROACH

A fresh approach to achieving high gain distortion in a pedal format, the Hard Drive includes cascaded gain stages and a hard limiting circuit, followed by a class AB amplifier section that drives a “sweepable midrange” EQ and Baxandall bass and treble controls. With its generous external controls, the Hard Drive lets you dial in everything from grinding tube amp crunch to a bona fide wall of distortion that can easily cut through any stage or studio mix.

HONORING CLIFF SMITH

The Hard Drive holds a special place in JHS history as the final design work of our former head engineer, Cliff Smith. The prototype and design had been finalized just weeks before he passed away in 2021.

“I don't know that there's ever been a JHS circuit where we experimented more. It was always a loose and casual approach to getting this right. I knew something great would come of it, so we just let it simmer…Cliff would call the Hard Drive circuit a mutt, and I agree– meaning this circuit is not a clone of anything in particular but rather an original iteration of tons of different inspirations and ideas, kind of like the Colour Box that he and I developed years earlier. I have vivid memories of Cliff spending entire weekends and nights tinkering and experimenting with this circuit. He would message me notes on the weekend when he got excited about something he stumbled into. This pedal was his hobby for a long time. He truly loved big, complicated gain staging and the challenge of making solid state circuitry respond like a valve amp. As a passion project that became a real product through Cliff’s consistent work, I can’t think of a more fitting last release from us as a design team than the Hard Drive. Cliff loved learning and this was his last masterclass. It’s an honor to finally put it out and let people enjoy the idea he brought to life.” - Josh Scott

CONTROLS

Volume - Controls the overall volume of the pedal. Left is less, right is more.

Mid Freq - Controls which mid frequencies are boosted or scooped by the Mid control.

Drive (Distortion) - Controls the amount of drive (distortion). Left is less, right is more.

Bass - Controls the bass frequencies level. Noon is flat, left is cut, right is boosted.

Middle - Controls the mid frequencies level. Noon is flat, left is scooped, right is boosted. The frequency range is set by the Mid Freq control.

Treble - Controls the treble frequencies level. Noon is flat, left is cut, right is boosted.

Silent soft touch switching with a buffered bypass.

THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 78mA, AND MEASURES 2.6" X 4.8" X 1.6".

Introducing the DigiTech Eric Clapton Crossroads, a signature overdrive pedal designed with precision to emulate the iconic tones of the legendary guitarist Eric Clapton. Powered by DigiTech's Production Modeling circuitry, this pedal can capture the essence of Clapton's distinctive sound, making it an accessible and affordable tool for musicians of all levels. Whether you're looking to add a reliable overdrive to your pedalboard, recreate Clapton's famous tones in a cover band, or simply recreate the magic of "Layla" in your own space, this pedal offers the perfect solution.

Key Features:

• Powered by DigiTech's Production Modeling circuitry
• Captures seven of Eric Clapton's famous tones
• Affordable and reliable overdrive pedal
• Perfect for playing in a cover band, or personal use
• Easy access to iconic sounds through a single pedal

MODEL 1.“Sunshine of Your Love”, Cream – *Disraeli Gears (1967) Perhaps one of Eric’s best known songs from the Cream years is “Sunshine of Your Love”. Eric achieved his now infamous “woman tone” on “Sunshine” in a rather unconventional manner. He began with running his amplifiers as hot and loud as possible. He then rolled back the tone control on his SG and engaged his wah-wah to a fixed position. The midrange/treble boost from the wah compensated for the lack of tone from the SG. MODEL 1 models this effect using the CNTRL 1 and CNTRL 2 knobs to adjust the amount of distortion gain and tone respectively.

MODEL 2.“Crossroads”, Cream – Wheels of Fire, Live at the Fillmore (1968) A pivotal moment in Eric’s career is the track “Crossroads” from Cream’s live 1968 recording Wheels of Fire, Live at the Fillmore. “Crossroads” was penned by Robert Johnson, Eric’s most important guitar influence. Its electrified delta blues form evolved from Eric’s days with the Bluesbreakers to the power rock blues version heard on this performance. This song features Eric’s famous soloing work that is still talked about today. CNTRL 1 adjusts the amount of distortion gain. CNTRL 2 adjusts the overall tone.

MODEL 3.“Badge”, Cream – Goodbye (1969) For the song “Badge”, Eric used a rotary organ speaker cabinet to get the swirling guitar effect heard in the breaks between the verse and chorus. This sound was achieved by overdriving the amplifier and by strategically placing two microphones around the rotating speakers. These mic signals were then panned in a stereo field. For this MODEL, connect both the OUT 1 (AMP) and OUT 2 (MIXER) outputs into two different amps or two channels of a mixer panned hard left and hard right to hear the rotary speaker modulation effect at its best. CNTRL 1 adjusts the amount of overdrive gain for the guitar signal while CNTRL 2 adjusts the speed of the modulated sound.

MODEL 4.“Layla”, Derek and the Dominoes – Layla and Other Assorted Love Songs (1970) Eric’s most recognized guitar riff and song is “Layla”. Recorded under the band moniker of Derek and the Dominos,“Layla” features Eric on “Brownie”, his Fender® Strat™ guitar which he played through a tweed Fender® Champ™ amplifier. CNTRL 1 adjusts the amount of distortion gain. CNTRL 2 adjusts the overall tone.

MODEL 5.“Lay Down Sally”, Eric Clapton – Slowhand (1977) “Lay Down Sally” is a country style shuffle featuring Eric and George Terry in a counterpoint guitar duet. CNTRL 1 adjusts the amount of distortion gain. CNTRL 2 adjusts the overall tone.

MODEL 6.“Layla” (Acoustic),Eric Clapton – Unplugged LIVE A pivotal moment in Eric’s career was his live acoustic performance on the MTV™ television series “Unplugged”. Here Eric and his band unleashed a variety of acoustic renditions of some of Eric’s most famous electric works, including his hit song “Layla”. MODEL 6 transforms your electric guitar signal into Eric’s vintage acoustic heard on this performance. Connect both the OUT 1 (AMP) and OUT 2 (MIXER) outputs into two different amps or two channels of a mixer panned hard left and hard right for stereo imaging. CNTRL 1 boosts/cuts the dominant resonant body frequencies modeled from Eric’s 000-42. CNTRL 2 adjusts the reverb level being added to the signal.

MODEL 7.“Reptile”, Eric Clapton – Reptile (2001 Eric’s title track on his 2001 release “Reptile” features a classic Gibson® L-5 jazz guitar played through his custom Cornell tweed combo. Some chorusing and reverb were added during mixdown. CNTRL 1 adjusts the amount of overdrive gain. CNTRL 2 adjusts the reverb level being added to the signal.

Seven signature tones from guitar legend Eric Clapton. In conjunction with Eric Clapton, we have helped recreate some of his most famous tones in the DigiTech® Crossroads Artist Series pedal by applying our new Production Modeling™ technology.This revolutionary technology was designed to help reproduce the studio and live sounds and effects of an artist as heard on their recordings. This includes modeling the speaker cabinets, microphones with their placement, pre/post effects, and the recording engineer’s magic all in one pedal. The Crossroads Artist Series pedal was conceived in conjunction with Eric Clapton and his long-time guitar tech Lee Dickson. Crossroads models seven Clapton signature tones. From songs like “Badge” with its swirling rotary speaker, to “Layla” (Unplugged) with its intimate acoustic tone, and of course, “Sunshine of Your Love” which features Eric’s signature “woman tone”, Crossroads spans 30 years of Clapton culture and tone.

• New DigiTech Production Modeling™ technology accurately models seven signature Eric Clapton tones
• Eric’s legendary Sunshine of Your Love “woman tone”
• Raw “Crossroads” blues captured live
• Embracing stereo spectrum of a swirling rotary speaker
• The acoustic intimacy of “Layla” Unplugged
• The enduring warmth of “Reptile”
• Separate amp and mixer outputs
• Custom artist pedal gig bag and pick
• Digitech pedal power supply

A portion of the proceeds from the sale of this pedal is being donated to Crossroads Centre, an International Centre of Excellence for the treatment of alcohol, drugs and other addictive disorders.

“Sunshine of Your Love” Eric achieved his now infamous “woman tone” by running his amps as hot and loud as possible, rolling back the tone control on his SG and engaging his wah-wah to a fixed position.

Crossroads” A pivotal moment in Eric’s career, “Crossroads” was penned by Robert Johnson, Eric’s most important guitar influence. Its electrified delta blues form evolved from Eric’s days with the Bluesbreakers.

“Badge” Eric used a rotating organ speaker for the swirling guitar breaks between the verse and chorus. This sound was achieved by overdriving the amplifier within the rotary speaker and by strategically placing two microphones around the rotating speakers and panning their signals into a stereo field.

“Layla” (Acoustic) A pivotal moment in Eric’s career was his live acoustic performance on the MTV™ television series “Unplugged”. This setting transforms your electric guitar signal into Eric’s vintage acoustic heard on this performance.

“Lay Down Sally” is a country style shuffle featuring Eric and George Terry in a counterpoint guitar duet.

“Layla” Eric’s most recognized guitar riff and song feature him on “Brownie,” his Fender® Strat™ guitar, through a tweed Fender® Champ™ amplifier.

“Reptile”, Eric’s title track on his 2001 release “Reptile” features a classic Gibson® L-5 jazz guitar played through his custom Cornell tweed combo. Some chorusing and reverb were added during mixdown.

Introducing the Ibanez Jemini, a distortion pedal that's as versatile as it is visually striking. Engineered with the legendary Steve Vai's tones in mind, this pedal offers musicians the unique ability to sculpt their sound with precision. Whether you're looking to dial in a heavy, driving distortion for a lead line or a subtler tone for rhythm parts, the Jemini has you covered. With two independent distortion circuits, each equipped with dedicated Drive, Tone, and Level controls, you can effortlessly switch between or blend different distortion sounds. The innovative Bright/Save switch adds a practical touch, allowing you to toggle the pedal's backlit controls on or off, ensuring visibility on the darkest stages.

Key Features:

• Two independent distortion circuits for versatile sound shaping
• Dedicated Drive, Tone, and Level controls for each circuit
• Bright/Save switch for backlit control visibility
• Inspired and designed with Steve Vai's iconic tones in mind

Introducing the Ibanez Jemini, a distortion pedal that's as versatile as it is visually striking. Engineered with the legendary Steve Vai's tones in mind, this pedal offers musicians the unique ability to sculpt their sound with precision. Whether you're looking to dial in a heavy, driving distortion for a lead line or a subtler tone for rhythm parts, the Jemini has you covered. With two independent distortion circuits, each equipped with dedicated Drive, Tone, and Level controls, you can effortlessly switch between or blend different distortion sounds. The innovative Bright/Save switch adds a practical touch, allowing you to toggle the pedal's backlit controls on or off, ensuring visibility on the darkest stages.

Key Features:

• Two independent distortion circuits for versatile sound shaping
• Dedicated Drive, Tone, and Level controls for each circuit
• Bright/Save switch for backlit control visibility
• Inspired and designed with Steve Vai's iconic tones in mind

Crafted in collaboration with legendary guitarist Stu G, the JHS The Kilt V2 is an incredibly versatile overdrive effects pedal that delivers a vast range of tonal possibilities. This compact beast is more than just a dirt box, it's a tone-machine that spans the spectrum from light, transparent drive to full-on, wall-crumbling fuzz.

The Kilt V2's heart lies in its heavily tweaked Expandora-style circuit. Chosen for its super low noise, improved slew rate, and delightful character, the op-amplifier provides a smoother, more satisfying structure than the original Expandora.

But it doesn't stop there. Three toggle switches further enhance the Kilt V2's tweakability. The cut/flat toggle offers the ability to trim low-end frequencies for a cleaner mix or beef up the bass response for massive riffs. The G1 and G2 toggles let you select various forms of distortion, providing a multitude of configurations to help you nail your desired tone.

Key Features:

• Highly versatile overdrive effects pedal, developed in cooperation with Stu G
• Heavily tweaked Expandora-style circuit with a specifically chosen op-amplifier
• Three toggle switches (cut/flat, G1, G2) for enhanced tweakability
• Ability to cover a wide range of tonal options, from light overdrive to heavy fuzz
• True-bypass switching preserves your tone when the effect is disabled
• Can be controlled hands-free with a remote (sold separately)
• Requires a 9-volt power supply (not included)
• Made in the USA

When we got the opportunity to work with Stu G (legendary guitarist, writer, producer, and founding member of UK band Delirious) we couldn’t pass it up. Right out of the gate Stu G 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, and the V2 has been honed into a compact and versatile tone-machine.

EXPANDORA AT HEART

The Kilt V2 has the same fantastic circuit at the heart of the version one: a heavily tweaked Expandora style dirt box that gives you more tonal options than you might ever be able to use. We use a specifically chosen op-amplifier that offers super low noise, improved slew rate for a smoother structure, and a character that feels even better than the original Expandora. Three toggles enhance the tweakability even further. The cut/flat toggle gives you the option to cut the low end frequencies to better sit in the mix. When in the “flat” position, the bass response is much beefier than the original Expandora for those heavy guitar riffs or bass grit. 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 from typical diode clipping selectors used in drive pedals. This gives you multiple configurations and tonal options, helping the Kilt V2 cover light transparent drive all the way to a wall of fat fuzz/distortion-- and everything in between.

TOGGLES FOR DAYS

– 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 dangerously close to distortion, 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

VERSION HISTORY

V1 = Larger enclosure; two foot switches; independent boost on right side; four knobs and four toggles.

V2 = Smaller enclosure; three knobs and three toggles; Red Remote system added.

THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 64MA, AND MEASURES 2.6” X 4.8” X 1.6”