sprucebringsteen's Activity

We don't call it the 'Super' Leeds for nothing! Named for a legendary live album of 70s rock music, the bigger, meaner brother of the Leeds 50 delivers up to 150 watts power with our signature oversized transformers to stay pin-sharp and focused at volumes that can cover any stage. Effects loop and real spring reverb make this a great pedal platform, alongside two channels of gain and dedicated EQs so you can go from clean to hooligan extreme with a single stomp, and paired with our specially-voiced Hiwatt Custom F150 12" speakers.

Welcome to Hiwatt’s ‘Next Generation’ amplifier, the CUSTOM SUPER-HI Building on the Legendary DR504 circuit, this is a Hiwatt modded for extreme Hi-Gain like no other by esteemed amp guru, Mike Fortin. Three and four cascasing gain stages (foot switchable) take full advantage of traditional Hiwatt punch delivering an impressively wide soundscape with unmatched depth, tightness, clarity and control. The SUPER-HI has classic Hiwatt at its core and offers rich and focused delivery that is especially suited for drop tunings. Add in an Effects Loop, foot-switchable Dual Gains and Dual Master Volumes plus foot-switchable fourth tube gain stage, this amp allows the most demanding Guitarists the ability to shape the sounds and carve the exact gain and tone they are searching for – Hiwatt’s CUSTOM SUPER HI 50 is a full-on Fortin Face Melt.

I first met Robbie in 2008. You may have heard of him due to his Nashville session work or one of his many online Truefire video instruction courses. Once I heard him play, I knew this guy is not like the others! Robbie is one of those guys that when he plays the notes just sound “sweeter” than everybody else’s.

Fast forward to 2016, Robbie asked me about creating a pedal for him. One of the key elements that is different with this pedal and that Robbie wanted to incorporate, is that Robbie ALWAYS uses a compressor. What we came up with is a very unique dual channel OD and compressor all in one. When the pedal is active there is a very subtle compression circuit that is always on. This circuit is pre OD and allows you to sculpt the OD into an incredibly smooth yet articulate sound. When the pedal is bypassed, you have the choice via some internal DIP switch settings to have complete true bypass, or to have the OD bypassed, but leave the compressor engaged. (This is how Robbie prefers to roll) The OD section of the pedal is two completely separate channels, each with their own unique voice. The right side drive channel a subtle low gain drive. The left side drive has a little bit more heft in the dirt department, and the 3 gain range settings. Robbie refers to the right side as EL84 in nature while the left side as being 6V6 in nature of tones. Between how you set the compression of the pedal and each OD, there is a very wide ranging pallet of tone colors available.

$249

THE WHAT? How do you say that? It’s pronounced Jing-Wand. It doesn’t mean a thing, but it’s fun to say. You know you like it!

The ZHINGH-WHUNDH is “old school cool”. Plug in and go. Put it in front of a clean amp, dirty amp, whatever you got, other pedals, anything. The ZHINGH-WHUNDH is supposed to be simple. Just plug in and go. The tone is similar to “Plexi” in nature. (actual Plexi, not the modified high gain type of thing that the term Plexi gets used with too often) Low-ish gain aggression is what this is about!

CONTROLS EXPLAINED

LEFT KNOB – This is where you dial in the gain RIGHT KNOB – Works in conjunction with the gain control as a texture control VOLUME – WAIT. ?, WHAT……..MY PEDAL IS MISSING A KNOB!

We don’t need no stinking volume knobs! This is old school people. Reach down and use the one on your guitar!

That’s it. Simple is good! Plug in and play!

$129

The BLACK-OPS overdrive is a “channel switching” overdrive that allows for two different overdrive settings, each with their own gain and volume settings. There are two LED’s (red and green) that indicate which channel is currenty engadged, and a blue LED that indicates when the pedal is active or bypassed.

The two gain channels are the same except that the GAIN 1 control has a bass cut when turned left of center, and a mid-boost when turned right of center. GAIN 2 is a standard gain control with the lowest gain settings when the control is set fully counter-clockwise.

The tone control is midrange based, and is flattest when set fully clockwise. Turning the control counter-clockwise decreases midrange and adds bite.

There is a buffer circuit that can be engaged with a toggle switch on the pedal. This is useful when using the pedal with other pedals to help retain the tone that can be affected by impedance mismatch.

There are two trim pots you can adjust that are internal to the pedal. These adjust gain in key positions in the circuit. One adjusts gain across all frequencies, the other just the treble frequencies.

$159

The T Jauernig Reverie Reverb is a design that uses a Belton Reverb Module. The pedal simulates a long decay spring reverb. Controls are Level, Tone, and Depth. A very natural sounding reverb pedal. Runs on 9VDC external supply only.

$149

This is a digital delay based on the PT2399 IC. The pedal offers 600ms of analog type delay. But……all this comes with a twist. There is a circuit in the pedal that can be engadged that randomly adds modulation to the repeat signal in varying degrees. This gives you a more accurate representation of what degrading tape would sound like.

$229

FAT, WARM, GROWL……These are the words that describe the amps that produce THAT tone. This pedal does THAT! Vintage crunch with authority. Gain, Tone, Volume, Low Boost, Gain Boost controls allow righteous tones at all fronts!

$159

The F-Bomb 3 is the third generation of the F-Bomb and harkens back to one of the classic fuzz circuits, The Jordan Bosstone.

Fuzz can be a very cool, or very heinous effect to use depending on your perspective. But with the F-Bomb 3 there’s a little something for everybody.

From a mild overdriven sound, to thick fuzz, to sputtery mayhem, to fat subharmonic overtones there is a lot of sonic ground that can be covered by the F-Bomb

CONTROLS

Sensitivity: This controls the signal strength into the input of the circuit, and the amount of gain/fuzz that can be achieved. Along with the sag control you can also use this to adjust the sound to compensate for different signal strengths of different guitars/pickups.

sag: the most powerful control of the F-Bomb 3. With this control all the way counter-clockwise the tone is milder in nature, more like an overdrive. As you turn the control clockwise you’ll notice the fuzz gets thicker and then eventually into full on whacked out psychedelia!

Mini-toggle: This toggle switch is a 3 position presence control. Set it to what sounds best to your ear, and works best with your amp. This is just preset selection of very subtle high frequency filtering. Don’t expect massive differences, but it can be very useful depending on your rig. Different settings of the sensitivity and sag controls will also affect where you may want to set this toggle.

Volume: It is what it is, and you’ll find plenty of it on tap.

$129