CHORUS / VIBRATO In 2014 we brought you the Emperor V1, a 100% Analog Chorus/Vibrato with Tap Tempo. Now in 2018 we are proud to bring you the Emperor V2! There are two ways to look at the JHS Pedals Emperor Analog Chorus/Vibrato pedal. The Emperor V2 is a vintage-correct effect that absolutely nails the hard-to-find sound of the Arion SCH-1...but its also a do-it-all modulation solution whether you want a subtle sheen, convincing rotary simulation, or seasick vibrato. It utilizes a Bucket Brigade 3207 chipset to deliver the warmth of ‘80s-style analog chorus pedals and we've added enough onboard and outboard control to put you in command of every aspect of the Emperor’s voice. Whether spreading its warm tones or icy sheen to a pristine-sounding stereo rig... or utilizing an external expression pedal to cop realistic rotary speaker sounds on a blues gig, the Emperor can do it all. SO MUCH MODULATION We call the Emperor an analog chorus/vibrato. That’s just because calling it a true analog chorus/pitch vibrato with tap tempo/waveform selection/rotary speaker simulation/true stereo output/and more pedal would have been a pain to write every time. - The glorious tones of a real-deal, 3207 chipset bucket brigade topology - Mini toggle switch selects between chorus and vibrato effects - Three available waveform types (sine, square, and triangle) - Intuitive controls for Volume, EQ, Speed, and Depth UPDATED TONE SHAPING CAPABILITIES Making a good thing better? Yes please. The Emperor V1 had a Tone control which has now become the EQ control in the Emperor V2. We've replaced the passive tone control in the V1 with an active EQ control that functions as a Tilt. You'll now have much more tone shaping capability in the V2. The overall EQ control is much improved in the Emperor V2 and you will not lose any low-end sometimes commonly found with chorus/vibrato pedals. IN-DEPTH TEMPO CONTROL To control the rate of the Emperor’s effect, simply turn the Speed knob up and down or tap the tap tempo footswitch. Or for the more adventurous among us...plug in an expression pedal for variable control in real time. And you can even slave the pedal to other tap-controlled pedals for rhythmic consistency across all your effects. - Control the rate with the onboard Speed knob or tap tempo footswitch- Tap/Exp mini switch on the left side of the pedal controls the side-mounted Tap/Exp TRS jack- Use an external source to control the rate in the Tap Out setting (works great with our Panther Cub Delay and Unicorn pedals).- LED indicator notifies you of the effect’s tempo, even when disengaged A FEW EXTRAS You knew we would throw in a few extra features for you, didn’t you? Of course we did. When designing the Emperor, we conveniently and inconspicuously tucked in stereo output and the ability to select between buffered or true-bypass operation. - Plugging TRS splitter cable into the output jack is all it takes to wring true stereo output from the Emperor- Internal switch changes from buffered to true-bypass operation**- High-quality buffer helps drive long cable runs and in-depth pedal setups while restoring high-end loss THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 57 MA, AND MEASURES 2.6"X4.8"X1.6"

OVERDRIVE The Morning Glory is undoubtedly our most well-known overdrive pedal, winning more awards and receiving more accolades than any of our other designs. We worked hard to make it one of the most transparent overdrives out there. When you want to add some mid- to low-level grit to your crystal-clean tone, use the Morning Glory. When you want to boost a crunchy tone into thicker sustain, use the Morning Glory. When you need to add tube-like touch response to a less-than-ideal amp, use the Morning Glory. When you need to switch between two gain levels on the fly...Yeah, you get the idea. TRULY TRANSPARENT TONE The best way to explain the Morning Glory is that it delivers all the tonal and responsive nuance that your amp is missing, and nothing that your tone already has. It’s difficult describing a pedal that can be set to have little effect on your tone, so just plug into our Morning Glory overdrive for yourself, and then you’ll understand. - Gain control sweeps from completely clean to rock‘n’roll - Tame high end on brighter rigs with the side-mounted bright-cut switch - Increased headroom and output for use as a full-frequency boost ON-THE-FLY VERSATILITY An update for the Morning Glory V4 is moving the original's front-mounted bright-cut switch to the side of the pedal and replacing it with a powerful boost circuit. And by pairing your Morning Glory V4 with the JHS Red Remote (sold separately), you’re able to access the boost mid-song. It’s like having two Morning Glorys in one pedalboard-friendly package. - Switch to a more powerful sound with enhanced low end and grit - Plug in your JHS Red Remote to switch between the two voices with a tap of your toe - Handy LED changes from blue to red, indicating the status of the boost circuit VERSION HISTORY: V1 = Bigger white enclosure with black knobs; no bright-cut switch; no logo. V2 = Changed to smaller current enclosure; gold powder coat color. V3 = Bright-cut toggle added. V4 = Two times more headroom; Gain Toggle added; Red Remote system added. THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 43MA, AND MEASURES 2.6" X 4.8" X 1.6".

PREAMP / EQ / OVERDRIVE / DISTORTION / FUZZ / DI BOX In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard-to-achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live. I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined. In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more! On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo buses, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. VERSION 2 EMERGES The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics. The most significant improvements are: Addition of an Output transformer Safely Passes 48V Phantom Power EQ Shift Knobs for precision EQ control Hi/Lo Switch for ultra clean headroom 100% available clean signal even on acoustic guitar Silent switching, aka no "switch-pop" Runs on standard 9V DC Neg power FEATURES & CONTROLS The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain. The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB. The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds. In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones. MOST POWERFUL EQ YET The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The classically labeled EQ knobs adjust the amount of frequencies that get boosted and cut, while the Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. EQ Functions Treble Knob - Cut/Boost Control +/-15dB flat at noon. CCW cuts, CW boosts. Middle Knob - Cut/Boost Control +/- 10dB flat at noon. CCW cuts, CW boosts. Bass Knob - Cut/Boost Control +/-15dB flat at noon. CCW c

COMPRESSOR / PREAMP / DI BOX The Pulp ‘N’ Peel V4 is the truly transparent compressor pedal you’ve been dreaming of. Its smooth-sounding parallel compression circuit offers you the power to blend in your ideal balance of compressed and uncompressed signal. You’re able to add a touch of grit to your tone thanks to the pedal’s Dirt mini toggle. Also, whether you’re a bassist sending your signal direct or a guitarist running the Pulp ‘N’ Peel on your pedalboard, the pedal’s ¼”, balanced XLR outputs have you covered. This compressor/preamp pedal sports a ton of tone-shaping power, so no matter what your compression needs are, the Pulp ‘N’ Peel V4 is your go-to solution. THE EXACT COMPRESSION YOU’VE BEEN WAITING FOR We know how much effort you put into getting your tone exactly right. That’s why we worked so hard to ensure the Pulp ‘N’ Peel V4 maintains your instrument’s natural attack, has a very low noise floor, and adds a professional polish to every chord, lead line, and note from your amplifier. - Improved detection circuit for smoother tones with added sustain - Active EQ control that cuts or boosts high end - Parallel Blend control balances your compressed and uncompressed signals WARM STUDIO-STYLE GRIT TO HELP YOU CUT THROUGH Whether you’re looking to warm up your sound in the studio or want to add some grind for the stage, flip the Dirt mini toggle and you’re there. Want to push your amp hard for even more grind? The V4 has been improved with greatly increased headroom and output on the volume control. - Dirt voiced to go from warm tone enhancement to gritty tonal foundation - Low-profile gain control is safely located on the side of the pedal - Works especially great on bass - Increased output works as a fantastic full-frequency boost ONSTAGE, IN THE STUDIO, OR ANYWHERE ELSE No matter what electric instrument you play, we’ve outfitted the Pulp ‘N’ Peel compressor/preamp pedal with enough connectivity options to make it your go-to compressor in the studio, on your pedalboard, at home, or anywhere else. - Standard ¼” instrument input and output - XLR/DI balanced output for going direct to the board or interface (try it on acoustic and bass!) - Ground-lift switch to eliminate hum and buzz (if dealing with unwanted ground loops when interfacing with other equipment) - High-quality “always-on” buffer VERSION HISTORY: V1 = Only two knobs; no logo; extremely rare. V2 = Three controls; softer orange color; older orange slice logo. V3 = Three controls; includes LBB via internal dip switch. V4 = Four controls; added EQ knob, Dirt Toggle, and XLR output. V4.5 = Buffer switch removed; buffered bypass switching added. THIS PEDAL REQUIRES STANDARD 9V DC CENTER NEGATIVE POWER, CONSUMES 32MA, AND MEASURES 2.6"X4.8"X1.5"

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, 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 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point. In 1960, Leo Fender introduced a circuit in his Bandmaster and Vibrasonic amps called the “Harmonic Tremolo.” Essentially, the amp’s signal was split into high frequency and low frequency components, with the output switching back and forth between the two, resulting in a dreamy effect similar to the Uni-Vibe. The 3 Series Harmonic Trem allows you to utilize Leo Fender’s revolutionary effect in a package much easier to tote than a vintage amplifier. Toggle up is a great sounding amp trem, while toggle down is our take on harmonic trem effect. THE JHS PEDALS 3 SERIES HARMONIC TREM RUNS ON 9V DC NEGATIVE CENTER POWER AND CONSUMES 65 MA. LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

In 1978, one of the most versatile distortion pedals of all time was invented in Kalamazoo–the ProCo RAT. Scott Burnham and Steve Kiraly had the idea after playing, repairing, and modifying all distortion pedals on the market. They wanted something that didn’t exist yet at MXR, DOD, or BOSS, a pedal that could go from overdrive to distortion and all the way to fuzz. By 1979, Scott perfected the circuit in his rat-infested basement workshop. The rest is history. The PackRat is the ultimate tribute to 40+ years of RAT evolution and its impact on guitar’s sound. Artists from every genre have used this iconic and unassuming black box to create their tones, including Nirvana, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck, and Radiohead. The PackRat uses the same unique digital runway system featured in our other multimode pedals (Muffuletta and Bonsai) to direct the paths of 261 components through 40 individual switches. This means when you choose one of the nine legendary modes, you are playing fully analog circuits that perfectly replicate that mode down to the aging components. If you purchased these nine hard-to-find pedals on the used market right now, you’d pay around $4000 $6000 (updated Summer 2024). The PackRat at $249 saves you thousands! Controls Using the PackRat is straightforward. “Volume” adjusts the overall volume of the pedal. “Distortion” lets you raise and lower the amount of gain or distortion. “Filter” allows you to brighten or darken the sound of the overall effect, acting as a simple low-pass filter. The “Mode” knob is a rotary switch that clicks between each of the nine legendary RAT versions. As you change the mode, the analog circuitry is rewired between different values of resistors, capacitors, diodes, and op-amps. Research I obtained over 100 different RAT specimens for study and interviewed former ProCo employees about the design, evolution, and production of the RAT. Many of the widely accepted “facts” about the differences in versions or sounds, including some of my own beliefs, were misinformed at best. Often, they’re wrong. Reliable sites had inaccurate timelines with incorrect pictures of the respective models. Even ProCo’s own history was missing tons of details about changes made to the RAT over the past 40 years. To find the facts and properly understand this circuit, we obtained and studied every RAT model ever made (including some prototypes) in great detail. We analyzed them using state-of-the-art audio precision equipment, measured components, built comparison charts, traced each circuit, and closely examined the branding, logos, and other changes as precisely as possible. Vintage units are typically dated by reading manufacturer codes on potentiometers and knobs. Unfortunately, this is a flawed dating method. ProCo would have ordered thousands of potentiometers, and many pedals were made with parts that were at least two or three years older than the production date. This means you’ll see v1s, v2s, and v3s with overlapping dates. Combine this with decades of people “remembering” what RAT model sounds the best, and you’re in a historically inaccurate hot mess. To properly build an accurate timeline and database of changes, I dated components when possible, interviewed people involved in the eras of production, referenced over 1,000 online sales photographs, and studied the prototypes and evolution of engineer design ideas. I did everything possible to build an airtight case for my work and not rely on any prior timelines. The results may not be perfect, but they’re pretty close. The PackRat Modes 1. The OG v1 (79-83) The OG is a perfect recreation of the first line of RATs ever made. Early v1s are also known as the Fringe Logo and can be identified by the word RAT having a slight fringe graphic on the typeface. The v1 also has small silver capped knobs and a Tone knob instead of the more familiar Filter label. From a circuitry standpoint, the v1 and v2 Big Box models are practically identical except that the v1 Tone control increases treble as you turn clockwise while the v2 Filte