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Elevate your sound to legendary status with the Analog Man Sun Lion Fuzz Pedal. This boutique marvel seamlessly marries the iconic '60s germanium fuzz with modern craftsmanship. Designed for the discerning guitarist, it offers unparalleled control over your tone, thanks to its intuitive dual switch design. Whether you're chasing that classic Rangemaster-style sizzle or sculpting your unique sound, the Sun Lion stands ready to roar.

Key Features:

• Dual switch design for independent or combined fuzz and boost operation
• Infuses '60s germanium fuzz tone with contemporary reliability
• Ideal for achieving Rangemaster-style fuzz boosts
• Boutique craftsmanship for superior sound quality and durability

Introduced in 2005 as a combination of the Sun Face Fuzz and Beano Boost, the result of this combination is more than the sum of its parts. The Sun Face side is Analogman's take on the Dallas Arbiter Fuzz Face, with the addition of an external bias knob, and internal clean control. The Beano Boost is an evolution of the Dallas Rangemaster, with an added three way EQ toggle for a mid range focus or additional low end. Use the Beano Boost side to attenuate the fuzz sound, or as a boost to make it sit perfectly in a mix. With these circuits stacked, the Sun Lion is essentially a three transistor fuzz, capable of endless sustain or walls of fuzz.

Key Features:

• Vintage accurate take on both the Fuzz Face and Rangemaster Treble Booster
• True bypass switching, 4 jack option
• Hand picked transistors, for optimal tone and low leakage
• Stacked sound is reminiscent of a three transistor fuzz
• Used by the likes of Marc Ford, Billy Gibbons, J Mascis, and Jason Isbell

Bellows is a two-knob wonder imbued with a whole lot of character for such a wee, simple, and unassuming pedal. It straddles the line between amp-like grit and fuzzy saturation to create a remarkably vintage, tweed-type tone.

Similar to the volume control of a “non master” amp, the Drive determines how hard the signal hits the input. At lower drive levels it’s a little wider and grittier. If you can resist the usual urge to dime the Drive, you’ll be rewarded with forcefully mellow, amp-like break up. Slowly bring up the Drive and you’ll eventually end up in blown out fuzz land, having passed a bunch of useful distorted places on your way. It’s pretty much every era of rock n’ roll in a box.

Controls:

1. Level: Adjusts the output level by setting the bias voltage of the transistor. A small amount of noise while dialing this in is perfectly normal.

2. Drive: Controls the input gain of the device for different levels of dirt. You’ll find that it is thinner and more clean counterclockwise and thicker with more growl clockwise.

The Harmonic Percolator is a distortion pedal that was made in Milwaukee, Wisconsin in the 1970's. It used a silicon and a germanium transistor in a design that passes even order harmonics while suppressing odd order harmonics. These even order harmonics are more pleasing to the ear than odd order harmonics. The Harmonic Percolator also responds well with multiple notes. The left slider is the input gain or distortion control and the right one is the output control. The input is on the left and the output is to the right when looking down on it. This is opposite pedals of today but in its time this made sense. Left to Right - the same way you read.

The Harmonic Percolator is a distortion pedal that was made in Milwaukee, Wisconsin in the 1970's. It used a silicon and a germanium transistor in a design that passes even order harmonics while suppressing odd order harmonics. These even order harmonics are more pleasing to the ear than odd order harmonics. The Harmonic Percolator also responds well with multiple notes. The left slider is the input gain or distortion control and the right one is the output control. The input is on the left and the output is to the right when looking down on it. This is opposite pedals of today but in its time this made sense. Left to Right - the same way you read.

Sunn O))) and EarthQuaker Devices are pleased to bring you the most compact, pedalboard-friendly version of the Life Pedal distortion circuit to date – the Sunn O))) HalfLife Octave Distortion + Booster. Half the size, just as heavy.

Controls: - Octave (O): This blends in the analog octave as you turn it clockwise. - Filter (F): This is a low pass filter with a frequency response from around 500 Hz to 30 kHz. Turn counterclockwise for more high-end, clockwise for less. - Distortion (D): Turn clockwise for more distortion, counterclockwise for less. This provides about +60dB of gain. - Magnitude (MAG): This is the output volume for the booster. Clockwise to blow up your amp, counterclockwise if you’re a baby. Unity is somewhere right around noon on the dial.

Clipping Switch (CLIP): - OpAmp: No diodes to allow for full, grinding Op Amp assault at maximum volume. - Asymm: Utilizes two silicon diodes and one LED in an asymmetrical clipping configuration. This delivers a slightly compressed and smooth crunch, similar to a valve amplifier. - Symm: This is the stock double silicon diode configuration, which provides that classic tone you know and love.

• Amplitude (AMP): Output volume for the octave distortion side. Clockwise for more hearing loss, counterclockwise for a healthy life in old age.
• Magnitude Footswitch: Boost Activator
• Amplitude Footswitch: Octave Distortion Activator
• Octave EXP Jack: Connect any expression pedal to this input to control the analog octave blend.

Sunn O))) and EarthQuaker Devices are pleased to bring you the most compact, pedalboard-friendly version of the Life Pedal distortion circuit to date – the Sunn O))) HalfLife Octave Distortion + Booster. Half the size, just as heavy.

Controls:

• Octave (O): This blends in the analog octave as you turn it clockwise.
• Filter (F): This is a low pass filter with a frequency response from around 500 Hz to 30 kHz. Turn counterclockwise for more high-end, clockwise for less.
• Distortion (D): Turn clockwise for more distortion, counterclockwise for less. This provides about +60dB of gain.
• Magnitude (MAG): This is the output volume for the booster. Clockwise to blow up your amp, counterclockwise if you’re a baby. Unity is somewhere right around noon on the dial.

Clipping Switch (CLIP):

• OpAmp: No diodes to allow for full, grinding Op Amp assault at maximum volume.
• Asymm: Utilizes two silicon diodes and one LED in an asymmetrical clipping configuration. This delivers a slightly compressed and smooth crunch, similar to a valve amplifier.

• Symm: This is the stock double silicon diode configuration, which provides that classic tone you know and love.

• Amplitude (AMP): Output volume for the octave distortion side. Clockwise for more hearing loss, counterclockwise for a healthy life in old age.

• Magnitude Footswitch: Boost Activator

• Amplitude Footswitch: Octave Distortion Activator

• Octave EXP Jack: Connect any expression pedal to this input to control the analog octave blend.

Sunn O))) and EarthQuaker Devices are pleased to bring you the most compact, pedalboard-friendly version of the Life Pedal distortion circuit to date – the Sunn O))) HalfLife Octave Distortion + Booster. Half the size, just as heavy.

Controls: - Octave (O): This blends in the analog octave as you turn it clockwise. - Filter (F): This is a low pass filter with a frequency response from around 500 Hz to 30 kHz. Turn counterclockwise for more high-end, clockwise for less. - Distortion (D): Turn clockwise for more distortion, counterclockwise for less. This provides about +60dB of gain. - Magnitude (MAG): This is the output volume for the booster. Clockwise to blow up your amp, counterclockwise if you’re a baby. Unity is somewhere right around noon on the dial.

Clipping Switch (CLIP): - OpAmp: No diodes to allow for full, grinding Op Amp assault at maximum volume. - Asymm: Utilizes two silicon diodes and one LED in an asymmetrical clipping configuration. This delivers a slightly compressed and smooth crunch, similar to a valve amplifier. - Symm: This is the stock double silicon diode configuration, which provides that classic tone you know and love.

• Amplitude (AMP): Output volume for the octave distortion side. Clockwise for more hearing loss, counterclockwise for a healthy life in old age.
• Magnitude Footswitch: Boost Activator
• Amplitude Footswitch: Octave Distortion Activator
• Octave EXP Jack: Connect any expression pedal to this input to control the analog octave blend.

Some pedal circuits are equals parts history and mystery, as is the inspiration for the EHX Percolator. A unique design from a Milwaukee audio repair shop in the 1970s, the original is rare, gooped, and has gained a cult-classic status. The EHX Percolator expands on this original by adding modern control to a seriously wild sounding pedal. The basis of the pedal’s tone ranges from raunchy overdrive tones to ripping heavy fuzz. These sounds are achieved by asymmetrical clipping emphasizing even-order harmonics creating an interactive tonal experience that reacts to your playing dynamics musically with the potential for absolutely explosive tones. The EHX Percolator includes a simple but effective control set of three knobs and a single switch yielding a near infinite possibility of sounds from sweet and gentle, to face-rippingly fierce. HARMONICS controls the input gain of the pedal from overdrive to complete fuzz destruction. The BIAS control sets the bias of the gain circuit, creating sounds from smooth drive to pseudo-octave fuzz to Velcro gated fuzz tones. BALANCE sets the overall output of the effect. The DRIVE/FUZZ toggle engages the clipping diodes in FUZZ position for heavy fuzz sounds. While in DRIVE mode with the diodes disengaged, the EHX Percolator acts more like a transistor drive pedal with a raw, organic character that’s both chewy and crunchy. Under the hood, an internal trim pot can be adjusted to further enhance and bring out the sub-octave while also adding even more gain to the circuit for massive distortion with extra rumble. The EHX Percolator features True Bypass and a footswitch with Latching/Momentary action. Clicking the footswitch produces a normal latching function. A press and hold of the footswitch results in a momentary change between bypass states for a burst of fuzz and an instant change back to bypass when you lift your foot, or vice versa.

Modern take on a true legend of pedal history Asymmetrical clipping enhancing even-order harmonics Tones from smooth dynamic drive to ripping fuzz HARMONICS controls gain at the input stage BALANCE sets overall pedal output level BIAS adjusts gain circuit bypass for achieving octave and gated sounds DRIVE/FUZZ control lifts/engages clipping diodes Internal trim pot for enhancing sub-octave tones and adding extra gain Latching/Momentary footswitch action Mechanical Relay True Bypass 9V battery included, adaptor optional

The Klon circuit, evolved. A professional drive with two independent channels and one familiar feel. Set them once, they’re there when you need them.

Two independent channels, no workarounds

About the Centurio

The Klon stuck because it didn’t cover your sound: it pushed your amp harder while leaving your tone intact. The Centurio takes that same circuit and builds a second independent channel on top of it, with its own Gain and Volume controls, switchable on the fly without adding anything to the board.

Set them once. They’re just there when you need them. No extra boxes. No chain around a single pedal.

Channeling ethereal inspiration from otherworldly celestial structures and far-off galactic formations, the EHX Pico Shimmer is a supersonic traveler to the swirling, gleaming edges of ambience. Building on Shimmer concepts from the award-winning Oceans Reverb pedals, this compact device transforms your instrument into an immersive soundscape machine. Harnessing the powers of reverb, modulation, delay, and synthesis, you will discover a whole new world of fresh spatial exploration.

The Pico Shimmer features 3 shimmer reverb Scenes: The classic Intergalactic, the mellow Off-World, and the glitchy Etherdust.

• INTERGALACTIC: a classic shimmer made up of polyphonic octaves, reverb, modulated delay and compression with the addition of a string synthesis engine. Morph between plate reverb, classic shimmer, and ethereal strings to create cinematic atmospheres beyond time and space. • OFF-WORLD: a smoother, mellower shimmer effect with enhanced delay modulation. Vintage synthesizer textures abound and lift Off-World to an orbiting atmospheric soundscape. • ETHERDUST: a glitch shimmer effect where the delay time is randomized, creating stutters ranging from short granular sparkles to distinct glitch echoes.

Controls on the Pico Shimmer are simple but powerful with Secondary Knob Functions available. BLEND adjusts the overall wet/dry blend while TONE controls the overall brightness of the effect. TIME sets the decay time with infinite reverb available when maxing out this control. The VOICE knob morphs the effect between clean plate reverb, classic shimmer, and ethereal string effects for dialing in precise flavors of ambience. The SCENE button toggles through the three modes as well as engages the Secondary Knob Functions with a press and hold. These secondary functions include adjustments to reverb mix, delay time, and modulation depth and rate. Access Infinite Reverb on the fly for momentary pad-like effects by pressing and holding the footswitch.

Explore another world of reverb with the EHX Pico Shimmer!

Features:

• Compact shimmer reverb ranging from classic shimmer to mellow synth pads to sparkling glitch
• 3 Scenes: INTERGALACTIC, OFF-WORLD, and ETHERDUST
• VOICE knob morphs reverb character from plate to shimmer to synth
• BLEND sets wet/dry mix
• TIME controls decay time from short to infinite
• TONE adjusts overall brightness of the effect
• Press and hold footswitch to access Infinite Reverb on the fly
• Secondary knob functions control reverb mix, delay time, and modulation
• 3 Buffered Bypass Modes: Digital Bypass, Analog Bypass, and Hybrid Bypass
• Power adapter included

The Next Generation of Harmonizer

The H9 harmonizer Gen 2 brings Eventide's iconic multi-effects pedal into a new era, delivering studio-quality sound and creative flexibility in a compact, performance-ready format. Building on everything players loved about the H9 Max, it expands the platform with the full H90 algorithm lineup, modern ARM processing, and faster, more intuitive workflow for stage and studio rigs.

FX Algorithms - 74 algorithms including the full H90 and H9 Max libraries. 1,000+ present. New algorithms added as updates.

Polyphonic Pitch Shifting - High-fidelity SIFT tech that powers Polysynth, Polyphony, Polyflex, and Prism Shift.

Harmonizer+ Vocals - Transform vocals with the Harmonizer+ suite together with MixingLink® (sold separately).

Redesigned Interface - 2.5" display, button pads, Quick Knobs. Select, Bank, and Perform Modes. No app required.

Bluetooth, MIDI, EXP Pedal - Wireless Bluetooth control on Mac and iPad. USB-C connection. MIDI, aux switch, expression pedal inputs.

Stage & Studio Ready - Instrument and line-level /O, flexible routing, effects spillover, built-in tuner.

SPECIFICATIONS:

• Inputs: 2 x 1/4” TS Mono jacks
• Outputs: 2 x 1/4” TS Mono jacks
• Power: 9-12V DC / Center (+) 5.5/2.5mm jack. Ships with 12V 1A power supply.

We’ve had customers who just want our preamp from our "pawnshop" Parabola & Météore as its own pedal. It would have been a layup of a release. But Aaron always wanted to see his friends grow. So while on first glance this pedal looks like a straightforward overdrive/preamp, it has some surprises.

Whether on its own or stacked with other drives, the Aaron Graves Overdrive brings both clarity and heft to the proceedings. And if it can get a bit gnarlier than people expected, we were reminded that Aaron learned guitar from learning Misfits songs.

We heard people missed the “Mode B” circuit from our old Haymaker and Icarus V1 because it resembled power amp clipping. So we brought it back, but added a second gain stage to our classic voicing to balance the two drive styles more evenly. The bass voicing selector comes from listening to those of you who work in studios, love humbuckers, and/or like using the neck pickup. And there is PLENTY of gain and volume on tap.

A portion of the sales proceeds from these pedals will go to Fork & Spoon Records, so that Aaron's friends may continue his work in creating music and community.

Developed in collaboration with Michael Nielsen (YouTube - Big Hairy Guitars), the Spearhead takes the concept of stacking multiple front-end tone-shaping tools and distills it into a single, highly refined unit. At its core, the Spearhead is not just a boost—it’s a front-end signal shaper.

Each section is voiced to do one thing exceptionally well—and to stack effortlessly with the others:

BOOST – Up to 20dB of clean, flat EQ gain—perfect for pushing an amp or elevating your entire signal without coloration.

TONE – A passive treble roll-off (700Hz–11kHz) that smooths the top end without losing clarity.

LO CUT – A footswitchable high-pass (65Hz–650Hz) that tightens your low end before it ever reaches your amp or gain stages.

PUSHED – Inspired by the preamp of the Echoplex, this stage adds harmonic richness and touch-sensitive gain.

BASS – An active low-frequency control offering up to +10dB boost or −3dB cut at 80Hz to anchor or tighten your sound.

Instead of forcing you to choose a single “flavor,” the Spearhead lets you build your sound. Tighten lows before gain, add harmonic push where needed, shape highs and lows independently, and drive your amp with precision.

The result is a signal that feels intentional, layered, and alive, whether you're pushing an amp into sweet saturation or refining your clean tone with precision.

Soft touch buffered bypass with last state memory

Lo Cut functions independently

9 Volt 40mA operation

Size - 5” x 3” x 3” Weight - 1lb

Users Manual

Bypass Mode Programming Tutorial

Echoplex is a trademark of its respective owner and is not affiliated with LPD Pedals.

The Deluxe Bass Big Muff Pi 2 takes the once lost dual op-amp Big Muff 2 design to the max with flexible tone shaping and pro upgrade features. The EHX “Deluxe Treatment” has been a favorite for players who believe that more is more. The Deluxe Bass Big Muff Pi 2 delivers on that philosophy with more earthshaking fuzz options than ever before.

The Deluxe Bass Big Muff Pi 2 features the signature midrange grind of the original with the flexible EQ and virtually endless sustain expected in any Big Muff. This Deluxe Bass version adds a BLEND knob, noise gate, and a powerful CROSSOVER section for a unique sound sculpting experience. BLEND allows you to perfectly balance your clean and dirty signals for gnarly fuzz tones with a solid fundamental in the low-end. The GATE kills unwanted fuzz for a tight and clean performance. The footswitchable CROSSOVER splits your signal in two and applies a high-pass filter to the signal feeding the fuzz circuit while a low-pass filter affects only the dry signal. The HPF and LPF knobs adjust the cutoff frequency of the high-pass and low-pass filters. This CROSSOVER effectively lets you create a tone with a clear, trebly fuzz tone and huge, clean bass on the bottom. VOLUME, TONE, and SUSTAIN control the overall output level, EQ, and distortion of the pedal respectively.

The Deluxe Bass Big Muff Pi 2 has an expanded I/O section useful for any studio or stage application. The INPUT selects between normal and -10dB attenuation at the input for easier use with high output pickups. The standard INPUT and OUTPUT jacks are joined by a DI OUTPUT and DIRECT OUT. DI OUTPUT is an XLR output for getting your effect output direct to a mixing console or recording equipment while the DIRECT OUT supplies a buffered, clean output of your original, uneffected bass signal.

The Deluxe Bass Big Muff Pi 2 features a true bypass footswitch with Latching/Momentary Action. Tap the footswitch for normal latching functionality or press and hold the footswitch for a momentary burst of fuzz mayhem!

Features:

• Unique Big Muff Pi circuit design employing 2 Dual Op-Amps
• Deluxe features optimized for extended low-end and tone shaping
• VOL, TONE, and SUSTAIN controls
• BLEND knob sets wet/dry mix
• CROSSOVER splits signal into two applying a high-pass filter and low-pass filter
• HPF controls high-pass filter of signal just before it hits the fuzz circuit
• LPF controls low-pass filter of clean signal
• Selectable Input Pad for -10dB attenuation for use with high output pickups
• DI OUTPUT – Low impendence XLR output of effected signal
• DIRECT OUT – Buffered output of clean, original signal
• Buffered Bypass
• Latching/Momentary footswitch action
• 6VDC/200mA power adapter included
• SPECIFICATIONS
• Circuit - Analog
• Audio - Mono
• Power Supply - 9.6VDC-200mA power adapter included
• Dimensions (in) 5.75 x 4.75 x 2.5
• Current Draw 45mA

The Fumble exists because we made the biggest mistake in JHS history.

In May of 2025, we released the NOTADÜMBLË — our second solderless DIY kit pedal, containing two of the most coveted sounds from the Dumble universe. The overdrive side was correct: a boutique style overdrive built around the lead tone people associate with Larry Carlton, Eric Johnson, and Robben Ford. The clean side, however, was supposed to be a reverse engineered copy of the "A Box Later," a buffered effects loop device that Howard Dumble built sometime in the 1980s outside of his amplifier designs. John Mayer owns one of these obscure units and lent it to us. I replicated it, named it Box It Later, and that replica has traveled the world on John's pedalboards consistently since 2021. I thought I put that circuit in the NOTADÜMBLË as the clean side.

I didn't.

A week after launch, while planning a Short Circuit episode video about the NOTADÜMBLË, I discovered I had used the wrong circuit. The clean side of the NOTADÜMBLË wasn’t the “A Box Later”– it was something else entirely. Something I had also reverse engineered back in 2019 also for John, and then completely forgotten about. A separate Dumble preamp box that lived in a different archive location in our R&D storage. I had confused the two similar circuits and made a horrible mistake.

I made a video. I told everyone. We sold through the remaining inventory, discontinued the NOTADÜMBLË V1 after our batch of 15,000 sold out, and refunded anyone who asked to return their unit.

Enter the Fumble.

WHAT THE FUMBLE ACTUALLY IS

The Fumble is a faithful production version of the other circuit I cloned for John: the Dumble BBC-1. Once the NOTADÜMBLË V1 was discontinued, customers started telling us how much they loved that circuit and how they wished it was sold separately. The Fumble is that exact circuit, now in its own compact enclosure with its own self-deprecating name, an $89 price point, and no kit to build.

Here is where the story gets stranger than fiction. While digging back through the original Dumble unit's history, we realized the BBC-1 isn't really a Dumble circuit at all. It's a JFET preamp lifted almost part for part from a Barcus Berry acoustic preamp made in the 1970s — the kind of small utility box that bridged piezo pickups into electric guitar amps in an era when nobody had a modern acoustic preamp. Howard cloned it. Put it in his own enclosure for a handful of local LA players. He then used the same JFET stage inside his amplifiers and called it the FET mode.

Which means the legendary Dumble FET sound — the one inside $200,000 to $400,000 amps — is a clone of a 1970s piezo preamp.

The Fumble is a clone of that clone of that clone. Three generations deep into one of the strangest chains of events in pedal history

WHAT IT DOES

The Fumble has two knobs, true bypass switching, and creates a particularly enhanced clean tone.

OUTPUT is your master volume. Turn it up for more volume.

INPUT is the one that surprises people. It is not a standard gain knob. It attenuates bass and input gain at the front of the circuit simultaneously. Fully right has no cut — consider it a bypass of the control. As you turn the knob to the left, bass and gain are gradually attenuated. Roll it down for a thinner, tighter response. Roll it up for a fuller, louder one. There is almost nothing else on the market that boosts in this way.

Use the Fumble four ways :

1. As a permanent buffer and clean boost at the front of your board. Set the output low, dial the input to taste. It tightens up everything downstream and gives you a sweetener you stop noticing because you never want to turn it off.

2. To slam the front of your overdrives. This is the secret most players miss. We default to stacking gain after gain after gain. Putting a clean JFET boost like this before a Timmy, a King of Tone, a Klon, or a Morning Glory — that's often the better second stage you've been hunting for but just didn't know it.

3. To slam the front of a dirty amp. Tweed, Plexi, anything broken up. The Fumble makes it bigger and more articulate. Roll the input back for a tighter, treble forward attack into a cranked amp.

4. As a solo boost at the end of the chain. Crank the output, set the input where it feels best, hit it for the chorus or the solo. Done.

WHO THIS IS FOR

If you bought the NOTADÜMBLË V1 and loved the clean section, this is what was actually inside it.

If you missed it, this is a beautifully simple JFET clean boost with a control set you won't find anywhere else.

If you've ever paid a lot of money for a Dumble style boost from another builder, you should know the genuine article is simple. Uncomplicated. Affordable. It was always a version of an acoustic guitar preamp from the 70's.

WHO THIS ISN'T FOR

This is not an overdrive or a high gain pedal. If you want the lead tone half of the Dumble equation, you will want the NOTADÜMBLË V2 which updates the V1 with the the proper Box It Later clean section and the overdrive channel – in a single solderless DIY kit with two footswitches, an order toggle, and an added effects loop.

THE NAME

We've had the "Fumble" name and football helmet icon rolling around internally since April 10, 2012. It was originally going to be a Dumble style overdrive in our catalog, but the Moonshine took its place years ago. We never seriously revisited the Fumble project after then and the icon and rubber hand stamp went into a drawer for fourteen years. When all of this happened in 2025, the name was already there, waiting for the biggest fumble we had ever made as a company. Sometimes the universe hands you the punchline way in advance.

SPECS

True bypass JFET clean boost

Two controls : Input (bass and gain attenuator), Output (master volume)

9V DC center negative, 5mA

Assembled in Kansas City

THIS PEDAL MEASURES 1.96" X 3.93" X 1.21" AND CONSUMES 5mA. DO NOT USE MORE THAN 9VDC CENTER NEGATIVE. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.

Tubedreamer mk.2

The overdrive all tubes dream of.

When we introduced the Tubedreamer in 2006, our goal was to build the best 808-style overdrive.

That’s what we built then, and what we’ve pushed further with the mk.2.

The Tubedreamer mk.2 delivers a warm, rich, and articulate overdrive, with a carefully tuned midrange that cuts through a mix without ever sounding congested or harsh.

Improved control where it matters

The mk.2 features improved low-gain resolution, providing finer control and unlocking a wider range of usable tones at lower gain settings.

Clipping options

At its core, the Tubedreamer retains the JRC4558D chip, just like the most sought-after vintage units.

A 3-diode asymmetrical clipping stage enhances touch sensitivity, responding naturally to picking dynamics and fretting nuances.

A no-diode clipping mode removes diode clipping, delivering a more open, dynamic, and amp-like response with increased headroom and clarity.

High-gain stage

A dedicated HIGH GAIN footswitch gives access to an additional gain stage, making the Tubedreamer mk.2 suitable for performance use.

Dual internal trimmers provide independent output level control for the high-gain stage in each clipping mode, allowing precise level matching or boosting.

Startup state

The Tubedreamer mk.2 allows you to define the startup state for both the effect and the high-gain stage.

By default, the pedal powers up with both disengaged, but any combination of on/off states can be selected.

In a world dominated by digital screens and endless notifications, the Analog Kid roams free

Drawing inspiration from the lush tones heard across Permanent Waves, Moving Pictures, and Signals, the Analog Kid delivers everything from shimmering cleans to expansive, swirling modulation, while opening the door to an entirely new sonic territory.

Built for the Stage, Designed for Exploration

With two LFO circuits, accessed with each footswitch, the Analog Kid offers real-time control over your modulation landscape enabling players to build, layer, and shift textures on the fly.

The pedal is designed to integrate seamlessly into modern rigs while maintaining clarity and low noise performance. Run it in stereo to unlock a massive, three-dimensional spread that transforms your tone from centered to cinematic.

• Mono or Stereo operation
• Top-mounted I/O for pedalboard efficiency
• Optimized for isolated 9V DC power (150mA)
• Dual LFO Architecture — Twice the Movement, Infinite Possibilities

At the heart of the Analog Kid is a true dual-LFO chorus engine, giving players unprecedented control over modulation depth, rate, and movement.

• Independent or Master Rate Modes for dual LFO control
• Independent Depth Controls for each modulation circuit
• Stereo Output Capability for wide, dimensional soundscapes
• Chorus and Vibrato Modes for expanded tonal range
• Selectable LFO Direction for unique modulation behavior
• Players can run both modulation circuits independently for complex, evolving textures, or sync them together for classic, cohesive chorus tones.

The Sound of a Lifelong Tone Journey

Throughout his career, Alex Lifeson has relied on a wide range of modulation tools, often combining multiple chorus units to achieve his signature sound. The Analog Kid distills that experience into a single, highly flexible pedal that captures the essence of those tones while pushing beyond their limitations.

This isn’t a one-sound chorus, it’s a platform for exploration.

Specifications:

• Inputs: 1 x 1/4" Instrument Input (top-mounted)
• Outputs: 2 x 1/4" Outputs (Left/Mono, Right for stereo operation)
• Operation Modes: Mono or Stereo (true stereo when both outputs are used)
• Power Requirements: 9V DC, negative center
• Current Draw: ~70mA
• Recommended Power Supply: Isolated power supply for optimal noise performance
• Bypass: True bypass switching (dual footswitch design)
• Enclosure: Rugged metal chassis
• I/O Placement: Top-mounted for pedalboard efficiency
• Handmade in Burgaw, NC USA

Dirty Birdy Fuzz — Clean to Chaos Introducing the Airline Dirty Birdy. One fuzz — your rules. Roll your guitar volume down, and it cleans up. Crank it, and it gets nasty. From glassy and tight, to ripping, blown-out fuzz — you can tweak to your heart's content or set it and forget it.

🎛️ Cool. Collectible. Fun! The Dirty Birdy comes in three flavors: Transistor Radio, Seafoam Sparkle, and Vintage Pastel.

One fuzz. Three faces. Same filthy circuit.

Plug in. Turn up. Go fuzz ⚡yourself!

Airline Dirty Birdy Fuzz Pedal

The Airline Dirty Birdy is your classic fuzz… versatile, fun, and actually usable in the real world.

Instead of blasting fuzz all the time, set the THRUST control to your desired fuzz level — then ride your guitar's volume knob to go from clean sparkle to full-on roar. It's expressive, dynamic, and totally intuitive.

Set THRUST low for chime. Push it to noon for breakup. Past that? Welcome to fuzz territory.

Specs:

• Delivers a smooth tone with violin-esque sustain and gnarly saturated fuzz
• VOLUME — controls overall signal volume
• THRUST — controls the amount of fuzz distortion added to your signal
• TONE — controls overall brightness
• Dimensions: 4.4" x 2.5" x 1.3" / Weight: 9.5 oz
• True bypass, sturdy aluminum alloy enclosure
• Requires 9V center negative power supply (not included)
• Three exclusive finishes, 100 units each.
• Same circuit, three looks.

The Erlking is back! An early member of the Mythos lineup, this nod to that classic green Nashville overdrive has been long requested to make a return by customers. The Erlking takes the phenomenal ODR-1 topology and expands the range of controls by adding a Bass control. This lets you dial in this circuit to work with any pickup configuration.

The controls on this pedal are very interactive and there is a ton of flexibility in this circuit. If you need a mild boost, mid gain drive or pretty cranked dirt sound it's all here, with a useful tone circuit that tastefully adjust the highs. Plug a T-style guitar into this pedal and then into a Black panel amp and you have that iconic Nashville overdrive sound. Grab a LP and push a British head and it's classic rock and roll. This really is a versatile drive that we're happy to bring back into the fold.

The Erlking is the first Mythos Pedal to be made in the new folded 125b size enclosure.

Technical Specs

Approx. 25 mA Current Draw True Bypass Switching Enclosure size: 4.82” x 2.63” x 1.60”

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, careful quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.

The 3 Series Bitcrusher was built from scratch to do two things with precision: reduce bit depth and reduce sample rate, with a filter to shape the result. The Crush knob controls bit depth, moving from full 24-bit resolution counterclockwise down to 1-bit clockwise,from unprocessed through grainy and textured, into square-wave aggression and gated digital distortion. The Sample Rate knob works counterclockwise from a clean 32.768 kHz down to 2.5 Hz, introducing aliasing and artifacts that range from subtle harmonic shifts to metallic, ring-mod-like chaos and full digital collapse. The Filter knob shapes both, fully clockwise is unfiltered. Turn counterclockwise to sweep the corner frequency and increase the filtering. The Type toggle selects the filter character: down is a second-order low-pass with no resonant peak, inspired by vintage synthesizers like Oberheim, full-bodied and well-suited to bass guitar. Toggle up is a high-pass and low-pass swept in succession, focusing a band of strong mid-range frequencies that evokes the small speaker sound of a handheld game console. Under the hood, this pedal applies a zero-hole filter,a theoretical signal processing concept that had never found a practical application until it became part of this circuit.

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, careful quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.

The 3 Series Ring Modulator covers it all, from subtle, invisible modulation to full metallic chaos, with two distinct modes. The Blend knob mixes the ring modulation against your dry signal. The Frequency knob controls the speed of the ring modulator's oscillator, moving from slow, pulsing movement at lower settings to bell-like, metallic tones at higher ones. The Mode toggle selects between two algorithms. Down is Earworm mode, inspired by the now discontinued Way Huge Ringworm. The Tweak knob introduces an auxiliary LFO that adds wobble and movement to the modulation, turning a fixed ring mod into something alive and animated. Up is Green Lantern mode, inspired by the Green Ringer circuit, a wave rectifier that produces a natural-sounding octave effect alongside the ring modulation. In this mode, Tweak blends the octave effect from off to 100%. Used subtly under a solo, it adds a barely-there harmonic presence. Pushed hard with gain in front of it, it becomes something considerably wilder. Ring modulation has been around since the 1970s, and this pedal is our take on giving you everything the effect has to offer in one of the simplest possible packages.

The JHS Pedals 3 Series Ring Modulator runs on 9VDC center negative power and consumes 65mA.