The Ugly Truth about Fauxelectro-Harmonix Lizard Queen

 Let’s get this out of the way right up front, It has been an terribly long time since I’ve posted. The list of reasons for why is long and equally useless. Moving forward. What has brought me out of this seemingly endless hiatus? The short answer is the Lizard Queen. If you look at my post history, and I hope you do, you’ll notice that I am quite a fan of EHX. Yes, it is because they are affordable clones, but also so many other reasons. 

Faux electro-Harmonix?

Yes, actually, no. EHX so far to my knowledge has nothing to do with the Lizard Queen. JHS, however, does. JHS’s YouTube channel posted a video explaining the conception of this pedal. Role playing as 70’s EHX employees. Josh, from JHS, and his friends explain why they are designing and building large form at EHX clones of a pedal that doesn’t exists. Rather, it doesn’t exist yet. In the video they gush about the format and aesthetics. What I won’t do is describe the entire video. You absolutely should go watch for yourself. The jist of this paragraph is that JHS, and friends, design a period correct 1970’s EHX octave-fuzz.

Is this a plug for a new pedal?

I don’t know. I figured it might be, but that would mean a collaboration between EHX and JHS. That just feels like a lot of alphabet soup. However at the end of the video, Josh asks about the interest in the pedal. This is what spurred me to write this post. I don’t have a huge audience here, but there is a beautiful group of people that come here. I need all of us to put our collective weight behind the production and release of this pedal. If I can’t convince, again, please watch the JHS video and listen to it. If that doesn’t move you, then that’s fine. 

Return Of Haunting Mids (JHS Haunting Mids Effect Pedal)

I've spoken before about this pedal from JHS. The Haunting Mids was a limited release pedal that JHS released last October. It is now Spoketober once again, so JHS himself took to his new forum, youtube, to tell everyone about it. In this video, he goes on to tell us some interesting facts about the Haunting Mids pedal. Let's talk about Haunting Mids.

Mids That Are Haunting

Last year when this pedal was released there were some that claimed that this pedal was taken from a pedal building forum called Haunting Mids. Many people took offense to this, however, there seems to be little to no evidence of this. I criticized the pedal for its limited scope and function. However, in the video just released by JHS, one of the main topics of discussion was why they named the pedal "Haunting Mids". The reason is pretty simple. Haunting is to Mids as Transparent is to Overdrive. Haunting is just a word used to describe mids. It is simple, boring and seasonally appropriate. 

Mids Only

Many people criticize JHS for many reasons. I can't endorse this pedal, but I can recognize the perfect way this pedal was marketed. The pedal is not without merit, but I think they knew that this pedal wasn't going to move a lot of units. So, they decided to release it in limited release. Doing this not only allows JHS to sell to those looking for a very particular pedal but also to collectors and oddity seekers. 

Conclusion

Do you need a Haunting Mids pedal from JHS? No, I'd also argue that no one actually does. Do you want one? Maybe, I don't know. But even though it is something that I can recognize as something that isn't really necessary, and a graphic equalizer can function in the same way (maybe better). It's hard to say that this pedal isn't desirable. It's interesting, it's unique, it's haungtin...

NAMM 2018: JHS Panther Cub V2 Analog Delay

The Panther Cub has been a massively popular pedal for those that love analog, bucket-brigade delays. JHS has somehow stuffed the contents and features of the previous versions into a much smaller package. Good things come in smaller packages because the Cub now has active EQ, Smoother Oscillation, Gain Control, and Full Wet Mix. Everything you love from the original, plus some, in less pedal board real estate.


More Info From JHS:


In 2011, we released the Panther Analog Delay. Almost exactly two years later in 2013, we tried a nearly impossible feat of taking everything we love about the Panther Delay, making a few improvements, and packaging it into an enclosure half the size. Today in 2018 we're repeating the feat and making the Panther Cub V2 half the size once again!


What's New on the V2?


- Half the size of the Panther Cub V1 and Panther Cub V1.5
- Fully Wet Mix now available
- Gain Control to set overall volume
- Even smoother oscillation and run-away
- Active EQ, which functions at a Tilt style EQ


100% Analog Bucket Brigade Technology


The Panther Cub V2 is voiced to deliver the dark and chewy repeats that analog delay fans clamor for. The Panther Cub offers you 1,000ms (one full second) of delay time! Bring in beautiful, ambient modulation with the pedal's modulation controls.
- 1,000ms of Delay (1 full second)
- Four 3205 Bucket Brigade Delay chips
- Onboard Modulation that stays accurate even when using Tap Tempo


Extensive Onboard Control


Thanks to its groundbreaking feature set, the Panther Cub Delay has been one of our most intriguing pedals to date. It's not often you find an all-analog delay with onboard tap tempo and a 4-section RATIO control with settings for quarter, dotted-eighth, eighth, and triplet divisions. In fact, our original Panther Delay was the first to do it in 2011!
- Soft-touch Tap Tempo switch
- 4-position RATIO control (1/4, 1/8, dotted 1/8, Triplets)
- True Speed LED (indicates rate of actual delay)


External Tone-shaping Power


The Panther Cub's control and tweakability extend further than what you'll find onboard.  An expression pedal input can be assigned to change many of the pedal's settings on the fly. And you even have the opportunity to externally control your tap tempo and tap slave the Panther Cub to your other time-based pedals.
- Dry Out (via TRS splitter) for stereo field of sound
- Assignable Expression (control Time, Ratio, Modulation)
- Tap Input/Output allows external tap controller or tap slaving


Additional Panther Cub Benefits:


- Even smaller Pedalboard-friendly size
- Space-saving top-mounted Input/Output jacks
- True Bypass Switching
- Standard 9V DC negative power


100% Designed, Populated, and Assembled in Kansas City USA

NAMM 2018: JSH Andy Timmons V2

The Andy Timmons pedal from JHS has been a huge success for JHS. Guitarist have loved the original so much that JHS has come back with a version 2. So how the guys at JHS have found a way to squeeze a boost into their compact pedal. The boost is selectable via an addition footswitch. If you are a fan of the original, then you might dig applying the AT just the way Andy does. With a specially designed and tuned boost, you can boost it just like Mr. Timmons too.

More Info From JHS:


In 2016 we brought you the AT, Andy Timmons artist signature pedal and we're really proud to bring you the next iteration of this phenomenal stomp box, The AT+.
The JHS Pedals AT is Andy Timmons signature overdrive pedal that gives Andy his unmistakable lead and rhythm tone. Upon purchasing a JHS Angry Charlie in 2013, Andy began using it as his primary tone and soon after got in touch with Josh Scott about modifying it for his needs. Through going back and forth and tailoring it to Andy’s tastes, the “@“ was born and eventually released into production in 2016. This pedal gives you all the soaring overdrive and distortion that you hear from Andy with plenty of options to craft your tone with your rig.  So pay ATtention and we’ll see what makes the AT rock.


Does the AT+ sound the same as the original AT?


Yes!  The drive channel of the AT+ is identical to our original AT pedal.  No changes were made whatsoever and the controls remain the same.   They include Volume, EQ, Drive, Air, and a three-way toggle for 25-watt, 50-watt, or 100-watt modes. The Volume gives you plenty of headroom to play with, while the Drive control has a wide range from high gain blues to thunderous distortion. The tone controls work together to give you the ability to shape your tone and sit perfectly in a mix. The EQ works as a standard bright/dark tone control, while the Air control rolls in top end like a presence control so you can have just the right amount of brightness for articulation and clarity. The three-way toggle gives you the feel of different wattage amplifiers. The up position is the 25-watt setting with the most compression and saturation with the least amount of volume. The down position is the 50-watt setting for a good balance of compression and openness. The middle position is the 100-watt position for tons of volume and open crunch while being less focused.


Two channels are better than one!  


New to the AT+ is an independent foot-switchable Boost...essentially creating a second channel and gain stage for the pedal.  The boost side of the AT+ is a slightly dirty and overdriven pre-boost that allows you to hit the front end of the AT drive channel and achieve more saturation and definition for applications where you need more.  Since the Boost is independent, it can be used alone to drive your amp or other drive pedals in conjunction with the AT+ drive channel.


This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.8"x1.6".


You can safely run “The AT“ at 18 or 9 volts.

5 Worst Pedals Of 2017

Just as there is best of the year, there is also some pedals that didn't really seem to hit their mark. This isn't to say that they don't do the job their were meant to do, its just that sometimes the fact that they even exsist is a a head-scratcher. Let's take a look at some of the worst pedals of 2017.

EHX Blurst

I wanted to like this thing when I saw it. EHX has the habbit of bringing unexpected and fun products to market, but the Blurst was flirting with line between junk and genius and fell right over to the junk side. This is a pedal that dares you to try and use it. There is are some interesting special effects in this box, but I can't see that anyone could find use for it other than a noise maker. Some may need weird and interesting noises and this will provide, but for many of us, this is a waste of space.

DOD Rubbernecker

This pedal is actually a solid delay. It has some unexpected features and it expands of what you are capable of with analog delay. However, it suffers from timing. The Rubbernecker is now in the shadow of its big brother, Carbon Copy Deluxe. These two delay may possibly share some DNA, but given the choise between the two, most are going to go with the pedigry that the Carbon Copy brings with it.

BOSS/JHS AngeryDriver

This pedal came straight out of left field. The Angery Driver is a colaberation between JHS and BOSS. It combinds the Angery Charlie and Blues Driver. Both pedals are outstanding in their own right. So the decition to combind the two comes as a big surprise. Although, the pedal works on a technical level, it robs itself of some the best qualitiest that come with each respective pedals.

Keeley D&M Drive

What is basically a signature pedal, the D&M Drive actually works against itself. I understand why this pedal happened. These two brits that talk about pedals on the internet have the capability to sell plenty of pedals if they recomend them, so why not give them an endorment deal? Well, the whole perpuse of their show is to help guitar experience many differnent guitar product and maybe help with purchasing choices. If it turns out that they just shill for whoever is lining their pockets, then it doesn't help their credibility.

TC Electronic Rush Booster

This year we saw a whole slew of new pedals from TC Electronic. It's no coinsedence that this come after the buy out of TC by Behringer's parent company. What make the Rush booster worse than most other pedals in the same line is that TC already make a great boost for the same price. The Spark Boost is great and compact. For a one knob boost, you don't need a huge, heavy enclosure. This seems like some kind of oversight.

Ugly Guitar Truth: JHS Russion Big Muff Moscow Mod

The JHS Chernobyl Moscow Mod for the EHX Russian Big Muff Overdrive was announced on the official JHS Instagram. And yes, the original name for the mod was Chernobyl, as in the massive nuclear disaster at the Chernobyl nuclear power plant. At first glance I thought that the name was metal AF, but then I thought about naming a product after a horrible tragedy and profiting off it. So I support the name change. Other than the name, there are some interesting things about the pedal. Why don't we take a look are what in the mod.


All The Hardware

Two switches and a knob are added in this mod. If you like your new Russian Big Muff, but want it a little bit heavier, then boy does JHS have a deal for you. All joking aside, reading the description of the mod of the JHS website, I'm not exactly impressed. Straight from the JHS site description: "Experiment with all the knobs to see what kind of sound you get." Wow, I'm surprised that they didn't include the detail, "This pedal makes sounds!" or just the word "GREEN". The description is just senselessly lazy.

It Does... Something

So, the description does mention "lower gain synth style gated fuzz sounds". Which makes me wonder what a lower gain-gated fuzz sound would sound like. Perhaps a "dying battery" effect, or a super saturated, compressed clipping section. IDK, sure wish the description could clear that up. Anyways, After my personal experience with a JHS modded Soul Food (I could hardly tell that there was any change in tone when changing the mod's 3 different modes) I'm not waiting in line to get this one done.

Is It Better?

There once was  a time with adding switches and knobs would make me believe that the modded pedal with new and improved. But I've come to learn that just because it is different/altered/modded doesn't mean that it is better. I like the Green Russian Big Muff. Do I really think that it needs a mod? No. Does the description tempt me into wanting it? Not even close. Are people going to get this mod even though it had barely been described in any way? Sure, just look at the comment section on their facebook or Instagram. I think I'll hold off.


Conclusion

I think I end my last paragraph with my conclusion. I don't think I want this mod in any shape or form. Maybe I'm wrong, I haven't heard the pedal in question, but it was just announced so lets wait and see what it actually does. But we can all agree (probably) that their description needs some what...

Ugly Guitar Truth: JHS Haunted Mids Mid-Boost Pedal

If, and only if, you are as cool as me, and you were on your phone looking at Instagram instead of doing anything better with your life, then you might have seen that JHS is taking pre-orders for a new pedal. The Haunting Mids is, according to JHS, a frightfully effective Sweepable-Mids boost/cut pedal that can turn any amp or pedal into a ghastly monster. Let's break out the pitchforks...


Let's Talk About The Puns

They are stupid. I thought the entire pedal was a joke... kinda like their April fools pedal they posted a while back. Evidently this thing is real and they are taking pre-orders. Hopefully the pre-orders are just to see if there is anyone out there willing to put out money for this thing. Does your spine tingle when you think about pedals that do next to nothing? Do you have nightmares about muddy tone, then you must not know to turn an EQ knob. The description for this pedal is so campy, it belongs in a Bruce Campbell movie. But don't worry, if you don't like puns then you won't like this pedal either.


What Are They Going For

Let's take a look at the controls. Volume, Mids, Sweep, and a Hi/Low switch. Volume is self explanatory, it make it louder or not louder. Mids and Sweep work together. The Mids either boosts or cuts the selected frequency. The Sweep knob sets the frequency that is boosted or cut. The Hi/Lo switch effects the width of the range of frequencies effected. Hi is a more prominent and focused range, where Lo is wider and softer. So, this a boost pedal with shapeable mids... cool. But I have bad news for JHS


There Are Way Better Pedal That Do Everything (and more) That This Pedal Does

Literally every graphic equalizer pedal out there beats this pedal hands down. JHS tried really hard to make it cute, but every pun in the world can't save you from the fact that this pedal is stupidly limited. It's just slightly more refined than Spectrum pedal (one of the very first pedals that BOSS put out). The MXR 10 band eq is capable of doing everything the Haunting Mids does, but better. Plus, it's cheaper. Is it too big for your pedal board. Get the 6 band eq. Not enough bands? The BOSS GE-7 has got you covered. Mids? Lows? Highs? Cuts? Boosts? These pedal do it all. That's why I have 2 GE-7s on my board. Is the GE-7 noisy? Not that I've ever had a problem with, but there are mods that quiet the pedal.


Conclusion


This pedal is probably a simple, well designed pedal that does what it promises. However, I can't really recommend that you buy (or pre-order) it without pointing out how pointless a pedal like this is. If you want to shape your mids with a pedal, then get a graphic EQ. Save some money and get a much more flexible pedal. Do you want a pedal with cute ghost on it? Then paint a ghost of an EQ pedal because this pedal is nearly worthless... Just when JHS was impressing me with their new reverb....

Ugly Guitar Truth: JHS Sping Tank Reverb

According to the JHS website, the Spring Tank Reverb will be able to provide the washed out layers that only true amp style spring reverb can give you. The pedal brings you an arsenal of settings to tweak with an utilitarian simplicity and usability. The pedal features controls for Depth, Length, Highs, Boost (to control your overall volume) and Two independent and switchable reverb mixes called Tank 1 and Tank 2. Seems like a solid feature set from here, but lets take a closer look.

Springs

No, there aren't any springs in this pedal, but there is a lot more to this pedal than just simple reverb. The pedal sounds convincing. That right there makes this pedal a contender in the simple spring reverb 'boutique' market, but it has a few more tricks up it's sleeve. When running "regular" reverb, I do like the spring type. Plate, Hall, Room, and other types have their use, but the sound of springs just feels right to the ear for me. Real spring units are expensive and fragile. At this price point and quality, the Spring Tank is already a tempting option


Tanks


Why not just use the reverb on your amp? Well, if you are using an amp without a quality spring unit on board, then you're already out of luck. But the Spring Tank has the one-up on your amp's reverb. Tank 2 can be used as a second setting to be used on the fly. Set Tank 1 to your base level and then use Tank 2 for a huge, exaggerated sound, or anything else for that matter. What, your pedal only has one sound?


Boost


Yeah, this reverb has a boost in it. Any questions?


Other Features


Sure, this pedal has Depth and Length just like any other reverb, but you can set the brightness of your reverb so that it can sit in the back ground, or pop out in front. That not enough for you? Well, good. Because this pedal also has an effects loop that allows you to add addition effects just the reverb trails. You can even choose to only engage the effects loop when Tanks 2 in on. What more do you want?


Conclusion


Can you guess what I think about this pedal. I know this the Ugly Truth, but it's looking rather pretty from here. The Topanga, Dewdrop and Spring Thing are all in the same class as this pedal, but lets be honest. The feature set only makes this unit stand out. This pedal is well thought out and well executed. Personally, I get by with a digital reverb (gotta have my shimmer) but I have to hand it to JHS on this one. They put out a impressive pedal.

Ugly Guitar Truth: JHS/BOSS JB-2 Angry Driver Pedal

Ever since the announcement of this pedal, my news feed and social media have been blowing up about the new BOSS/JHS collaboration. The JB-2 Angry Driver is a step in a new direction for BOSS. JHS, however, have done this before. They've partnered with Jet City on a A/B Buffered Line Driver boost type pedal. (I have one and it is just about perfect for my AC15) According to things I've read on the internet, this is the first time that BOSS has gone outside of their considerably large house to develop a new pedal. If you want to read the marketing copy, google elsewhere. Let's get ugly...

Blues Driver

I love the BD-2. It really is a versatile and classic pedal. It's filled with great tonal possibilities. However, many have discovered that the tonal possibilities they are looking for come in the form of circuit modification. The humble Blues Driving have become the Honda Civic of the pedal world. Many well intentioned souls set out by buying a slightly used model with hopes of one day creating the ultimate machine. Only, they wake one day after hours of labor and money spent with something that is barely functioning much less better than when they started. I for one have removed buffers, replaced opamps and changed LEDs all for very little gain. Not to say that there aren't any worthy modifications. Keeley has done world a service by creating the quintessential BD-2 mod. It's like the movie where Sandra Bullock is a cop the has to be in a beauty pageant. Objectively, she accomplished and proficient, but be ready to bust out the double sided tape...

Angry Charlie

I haven't as much experience with an Angry Charlie pedal as I have with a Blues Driver, but the pedal as quite the following. The pedal is being used by anyone from novices to pros. I'm not going to tell you that the Angry Charlie is a slightly modified MI Audio Crunch Box, but there are those that believe that and they sound like they know what they're talking about. You could show me the schematics for both pedals, point out the similarities in the circuits and make a contextual demonstration of that information via puppet show and I still would struggle to grasp "how" the two pedals are similar. Honestly, most gain pedals work very similarly so saying someone is copying another is true in one way or another. But then you have the baggage the JHS carries with it. They is, very literally, hate had for JHS for associations that the founder has/had with certain religious groups. It comes up nearly in every thread involving JHS. I've also written about it. It's out there.

Angry Driver

Ok, at this time I've yet to use one of these pedals. It has just been announced so very few people have. So let's talk about what we know about it so far.

Take a breath.

They've taken the three knob tone stack from the Angry Charlie and given it a single Tone knob. This is somewhat understandable since they are squeezing two pedals into a single compact BOSS enclosure. However, imagen if they had gone with a regular medium-sized enclosure and given the Blues Drive a three band EQ (we already have one with a two band EQ. It's called a Digitech Screaming Blues"). I've spent most of my morning watching Youtube reviews of this pedal, and the only one that sounds decent to my ears is Rebea Masaad's. (The others range from eh to eww. Is it that hard to get decent tones out of this thing? Is this the new Metal Zone? Concentric knobs!!! Metal Zone confirmed!!!!!!) We get 6 modes of operation on this pedal, which is nuts, but let's not forget to mention that this pedal absolutely has a BJ mode. Just puting it out there. While we are being superficial, lets mention the fact that the pedal is probably the only BOSS pedal I'd call "hard to look at". It's not any uglier than any other BOSS pedal but that red on white color scheme is hard on the eyes. In fact, I officially recommind that you only look at it with those paper sunglasses you had to get to look at the solar eclipse. You'll with you had those glasses on when you see how much this pedal will set you back. Two hundred dollars for this bastardised Blues Driver. I think that makes this the most expensive single compact drive pedal that BOSS has put out. I get that it says "JHS" on it, but come on BOSS. We know this pedal was all you. But BOSS did the market research and found out that stamping three letters on the front would mean that they'd sell just as many at $200 as the would at $99. Thank you to all those JHS fanboys out there that pay out the nose to have you pedals put in pretty boxes. Alright, I think I'm done.

Conclusion

I'll admit. I'm excited to play one of these pedals. It's like seeing a miniature pony drive a car. Those two things don't belong together. I wouldn't believe someone if they were to tell me that it would happen, but now we have them, a unholy union that has spawn this abomination.

More Ugly Truth About JHS Pedals

Love them, or hate them, JHS Pedals have made quite a name for themselves. JHS has been designing and building effects for a few years now and there is a long list of high profile names that have endorsed them. They claim to be played by Andy Timmons, Ryan Adams, and John Mayer. So they must be doing something right. However, they are also doing something wrong and that's what I want to talk about.

Shame


JHS has a fair sized collection of effects that bare there name. Overdrives, distortions, Delay, Reverb, Boosts and more. All of them pedals demand a price that fans of boutique pedal are accustom to. $250 for an overdrive and boost is middle of the road for the market, but I've notice a few new faces in the line up that seem not to fit in the typical 'JHS' mold.  There are half a dozen or so utilitarian type pedals that seem affordable next to the other offering by JHS. So if they are a fraction of the cost of the others, then what's the problem?

Shame


These pedal include a Remote (Tap), Stutter (kill switch), Amp Box, Mute Switch, A/B, Buffer, and Splitter. "Great!" You say. Cheap boxes that do little jobs. That's not an ugly truth, that's just a good heads up. I'm sure that's what any JHS fanboy would think, but let look a little hard at the little boxes. When we do, we discover that there is little in these boxes that make it worth what they want for them. I know that the 'cost of materials' debate is not a new one (ie it only cost $40 for all the parts that go into a pedal. why do I have to pay $200 for it). Lets take the Red Remote for example. It is literally a footswitch wired to a 1/4" jack. A few dollars of materials and an equally few minute of work, but put JHS on it and it's a $35 pedal. The Stutter is no different. It is just the same switch between two jacks. The Mute switch adds an LED to the formula and charges an extra $10 for it. Wire that up slightly differently and you get the JHS A/B Box. The buffer does add some actual signal processing, but for the few part that it cobbles together you pay another $25 for it. Sad. Just Sad.

Shame


I know what JHS is thinking. Not everyone can afford their pedals, but they want everyone to own a piece of their gear and represent JHS on their board. Make something for the little guy or the beginner. Simple tools of the trade that everyone needs. Or they might just feel like they can charge a premium for simple boxes filled with mostly air. It kills me that I know you can get the same pedal for half of what they want for the JHS version. Maybe I'm missing something here. Maybe there is more to it. But from what I can see, this is just a case of taking advantage of you customer. I wish there was something redeemable about this 'pedals', but I just don't see it.

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Ugly Truth About The New Keeley Compressor

Keeley has been impressing us since they first started modding BOSS pedals. They were on the cutting edge of the big 'mod' boom. Then they developed a line of original offerings that continues to innovate and expand. Keeley have been able to offer effects that compete with any other pedal for top spot. Their new compressor is likely to be no less impressive. It already has a few things going for it. So let take a closer look.

It's Tiny

Yes, it is another tiny pedal in a 1590A enclosure. Although I do not like skinny, tiny pedal like these, the Keeley compressors have been high regarded as some of the best. Little is known about the particulars of this pedal (it's not even on the Keeley website yet) it resembles the C2 Signature compressor. That particular model is out of production and resembles the ROSS/|Dyna, two-knob style Compressors. So this pedal seems to take a little inspiration from the C2 and adds a Mix knob, which I Find to my liking.

Too Many Compressors

Keeley is no stranger to the compression game. Their four knob compressor was probably the most sought after compressor for a period of time. It's features and fidelity filled a gap in the market that took some of the largest effects manufactures by surprise and introduced guitar players to compressor that made little or no compromises with their tone. This pedal does have some parallels with another pedal in the Keeley line-up, or rather a part of a pedal. The Steak and Eggs pedal by both Keeley and JHS has been praise three ways to Sunday. Notably, the tiny compressor and the compression side of the Steak and Eggs share the same features: Level, Sustain, and Blend. Is this Keeley capitalizing on the success of their joint venture with JHS?

These Pedals Are Too Familar

Take this pedal and put an unfamiliar logo on it. Does it still seem desirable? These tiny pedals have been flooding in from China. My local music store has adopted a line of these tiny guys. They sell for about $40. Put this pedal next to a Chinese pedal and tell me if it's worth two and a half time the price. Maybe it is, but maybe it's not. You could argue that Keeley holds it's value and is a better investment and that dealing with an American company will offer you better customer service. You would be right on all accounts. But when looking at the direct utility of the pedals themselves, it might become difficult to justify the price. (even though the first time I saw the asking price of one of these I thought it was a steal for a Keeley Compressor)

Conclusion

I'm not going to pretend that I don't like this pedal. It's probably the most excited I've been about a compressor, perhaps ever. It's not often that compressor get a lot of hype. They are used as tools, like EQs and boosts. There just isn't the colorful language given to these pedal as there is to overdrive and distortions. But, this pedal has all the makings of a great option if you are looking for a Compressor. It is small, so if you run your Comp 'always on' then you don't have to worry about turning it off and on and how uncomfortable that can feel. The price makes it no more expensive than many others that offer similar (or even fewer) controls. It maybe different or flashy, but it may just be the best option for compression to come out in the last few years.

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Ugly Truth: Jet City Buffered Line Driver

I picked up a pedal a while back because I was temped by the price. For less than $40 I picked up a Jet City Buffered Line Driver. I've always been interest by Jet City's offerings. The designs are pretty impressive and the costs are rather low, so of coarse they are interesting. Jet City doesn't seem to design very much. What they seem to do is take a licensed circuit and lower the manufacturing costs by taking to the far east. This seems like a rock solid plan to sell gear to cash strapped musicians. However, few guitarist are using their stuff. Why is that?

The Line Driver Is Designed By Non-Other Than JHS

Yes, no matter how you feel about them, there are tons of people pay top dollar for JHS pedals. The average price of any pedal is about $200, some go for more than $300 and yet a $40 pedal design by the same minds that brought you the Color Box (one of the most heralded pedals of the recent past) gets overlooked. The JHS buffer sells for over $70. Considering that the Jet City pedal is a buffer, boost, and A/B, it seemed to be a whole lot more pedal for your money. JHS designed both of them. They may even share the same buffer circuit.

The Boost Is Clean...ish

Yes, it is a very simple boost. One knob is all it takes. No tone control, which puts you at the mercy of the circuit. This one is voiced a little fat. It's very transparent but it tames the highs. When using pedals like the Klon and other treble heavy pedals, a boost can send your tone into 'ice pick' territory very quickly. A single knob makes it foot-friendly. I paired this pedal with an AC15 with a Top Boost channel. It was practically the only thing you'd needed to have a load tones at your disposal. The A/B switches channels and the boost hit the pre-amp to add some overdrive. The fact that it's buffered lets you travel far from the amp without worry about your cable's impedance

Conclusion:

This pedal plays nice with a pedal board and all by it's self. It's a useful tool and one that has found a steady place on my board. With the popularity of true bypass pedals, buffers are becoming something people are starting to consider. Before, Boss and Ibanez pedals provided the buffers. Now, people get very particular about where and what kind of buffer they use. There is nothing wrong with that. In fact,. it's good that people are taking control over their tone. It's important to under just what happens to your signal as it passes through all those feet of cable. I can't speak for everything that Jet City makes, but this pedal is solid choice.

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Ugly Truth About Getting Your Pedal Modded By JHS

If you are up on your pedal, then you are familiar with JHS pedals, they started offering a service to mod popular pedals for those that are so inclined. They started developing custom circuits and offering a line of pedals. Some of these pedals are very highly respected and sought after. I've been a DIY guy for the most part and have done many mods to Boss and Ibanez pedals, so I've never gone in for sending pedal off. Planning mods and tracking down parts has been a fond hobby for a long time, but this mod in particular seemed like a solid candidate. Now, on with the truth!

Here's what I got back form JHS

It's Uncomfortably Long Process

When dealing with send pedal through the mail, the worst part is the wait. Anyone who has order a piece of gear knows that it hard to wait. They have your money, you've made your decision, but you have days before you can play with your new piece of kit. Unlike an order from a retail web-store, The modding process is a service. So you mail your pedal, in this case, it took three days to arrive at JHS. Then they have to process your order in the order it was received. I was alerted that since I had mailed it just before the new year, then there would be a delay. The website stated that a typical order could take up to three weeks to process. So, I wasn't stoked. It ended up taking right up to the three week mark to receive my pedal, so according to the website, it was quite timely. If you were a active musician with gigs, then you would be out an important part of you rigs for weeks.

There A Hidden Fees

The enticing point of all of this mess is that you (yes, you!) can have a boutique-quality, professional-grade piece of gear for the price of a popular, mass-produced piece of gear. All you have to do is get these wizards to do their special brand of voodoo to it first. All for a nominal fee, of course. But that is to be expected. Nothing is free, but you probably already have one of the massively popular pedals that they offer a mod to, so its not like you are spending more money on your pedal, you are investing in an upgrade. So you come to accept the seemly exorbitant cost or changing a few part that total to a couple of dollars, but you rationalize it to yourself somehow. Then you come to find that they stick you with the cost of shipping it back to you. (not only that, but it's twice as much as you paid to ship it there...) In all I nearly doubled the price of my Soul Food, but it was all worth it, right?

It Might be worth it

Of course, I was excited to receive my pedal back from JHS. It just like getting new gear, expect that it was yours to begin with... So I spent a fair amount of time playing with my newly modded pedal, as I do, and I'm happy with it. That is, in the since that it was any worse than way I left it. Also the bass knob made a considerable difference when rolled all the way up. The switch that controls the clipping diodes made a very minute difference. I'm pleased with the changes made. I didn't have to lift a finger to do them, and everything looks great. 

Conclusion

Is it worth it to get your pedal modded by JHS. I think we already know the answer to that question. No. It is absolutely not worth it. Do I think that my $60 dollars (yes, all told I spent $60 on the mod plus shipping both ways) would have been better spent toward another pedal that already accomplished what I was trying to do the the original pedal. Unless it is directly related the the functionality of the pedal (like adding addition modes or settings) then a mod is mostly that special incantation that only those practitioners of the dark arts know. Or you know, google and soldering... 

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Top 5 EHX Crayon Rumors

There has been a lot said about this pedal since it was teased by EHX a few days ago. Forums and blogs have been abuzz about how it shares it's name with a JHS pedal. Personally I am excited to check this pedal out for myself. There is a lot of speculation about what this pedal might have in common with other pedals. In other word: What kind of clone is this pedal. As exciting as it would be to have a inexpensive pedal to do the job of a pedal that might be financially out of reach of some player, other look at copy-cat pedals as rip-offs that are just attempts to make money off of other peoples work. No matter wear you fall on the issues of clones, new pedals are exciting. Lets look at what is being said about The Eletro Harmonix Crayon

It's a JHS Color Box Clone

Yep, this one is a little on the nose. JHS has not only put out a pedal of the same name, but they are similar in function as well. Some have mentioned the differences in the two, such as the toggle that is missing from EHX's pedal. Although they have added internal switches that match other clones. The Soul Food pedal has internal buffer switching. Maybe this is a little surprise they are waiting to expose closer to it's commercial release. EHX hasn't really been this spot on with a name before. The TS clone is almost entirely green, but it was named East River Drive. The Klon Centar gives clones lot opportunity to riff on the name, my favorite being the Tumnus from Wampler, but EHX went with Soul Food. Still don't really 'get it', but hey...

Mike as he hints that the Crayon is a Fulltone clone...

It's a Timmy Clone

This is a little more simple to unpack. The Crayon has four knobs. The Timmy has four knobs. The Timmy is a popular pedal. EHX has a habit of copying popular pedals. This one isn't as much reserch driven theory as it is process of elimination. Whats the most popular four knob, light-to-medium gain pedal on the market... That must be it. The Timmy is based on the Tube Screamer with more control over the EQ. It's a great pedal. It might, in fact, bear more than a passing resemblance to the Crayon. What I've heard so far doesn't really lead me to think that, but I'm wrong a lot.

It's an RC Booster

This one is a little bit of a stretch. The circuit could share some similarities, but the reasons the comparison has been made in the first place is just mind-blowing. So, people other than my self have stated that the link between these pedals are the names. Crayon begins with the letters C and R. Turn those around and you get RC. There you have it. Rock solid proof that the Crayon is a RC Booster. The RC is a popular four-knob pedal, so there is that as well. But like I said before, word play is not one of EHX's strong suits. Nor naming things in general. Muff, Cock Fight, Glove... eh, I guess we'll buy anything that we think sounds good.

It's a Soul Food With a JHS Type Mod

Jeez, I hope so. I would buy two if this was the case. The only thing is, this would be utterly stupid for EHX to do. Why put out a pedal so closely related to your other pedal, but better. The Bass Soul Food is just that, a four knob Soul Food, although the fourth knob with a signal mix. The pedal went form transparent overdrive to just transparent to the point you can't tell if it is on. But you'll notice that the extra feature came with extra cost. Again we have extra features with the bass knob, but no added cost this time. It looks like they are able to assemble these pedals for no more that the other affordable clones they've been putting out.  What makes this hold a little bit of water is the fact that they are marketing this 180 degrees from the Soul Food. The Soul Food is a "transparent overdrive" where as this is meant to "color" your tone. Now they can sale you two pedals to do the job that normally one pedal has done. Sneaky...

It's a Robert Cray pedal

This is fun, Robert Cray is a blue musician. I have him playing it the background as a write this right now. Fun fact, it been said that Mr. Cray doesn't use pedals. Although I hear delay on his guitar right now... anyhow. I have not been able to confirm and use of drive pedals in the video of the live set that I am playing currently. He does have a Fender and Matchless amp among other accessories (none of which are pedals) on stage to shape his tone. Why would he. He is employing overdriven amps to make his overdrive. Why use a pedal that emulates an amp when you can just use a cranked amp. Robert Cray's tone is awesome and I would buy just about any pedal that could make me sound like that. Why have people said that this is true? The name, and the fact that his tone is mostly clean, much like the Crayon. Cray...Crayon... just too close to not be mentioned...

What do I think about all this... well, in a few days it won't even matter. We will have all the answers. But it's fun to speculate in the meantime.

Ugly Truth About EHX Crayon Overdrive

So EXH have done it again. They have birthed a new pedal that everyone (that pays attention to such things) is talking about. I noticed a post this morning about these colorful pedal. I first thought that it was something old catalog that hadn't seen the light of day in ages. It doesn't seem to really fit in with the modern aesthetic that EHX drive pedl have been given lately. It almost looks more at home with the Pitch Fork or Key Board modulators put out recently. Looks aside, this pedal has gotten my attention. It's is a low gain overdrive that adds 'color' to your sound. Whatever that means... Electro Harmonix released a promo video that makes it looks like the bee's knees, but given their long list of drive boxes, do we even needs this thing?

It Is A Light Overdrive

With a million klones out their, why do we need yet another light overdrive? The Klon is the end-all be-all right? Well, even with the relationship that the Soul Food pedal and Klon share, there are still those that tamper with the circut. I've considered having mine modded to add more bass with the JHS Meat and Potatoes mod. There is room for improvement. However JSH add a oddly placed knob on the side of the pedal. The layout of the pedal does not allow for it to be front facing. Is this an attempt to to capitalize on that trend without hindering the Soul Food's reputation and sales?

There Is Another Crayon

So remember when I called "crayon" a dumb name for a pedal? Well, looks like JHS disagrees with me too. Sure, pedals color our tone, but do we really want to name a pedal after a waxy, fagile relic of our childhood? Two major pedal manufactors do. I will admit, I like the designs that EHX have done for the Crayon. JHS has done a modern flat design that has always appealed to me. The two of these pedal coming out like this is almost uncanny, but they appear to be different enough to be unrelated. Will one maker bend and rename their box? Have we run out of good names to call these things? I do see a trend in EHX pedal names though. Glove, Food, River, Fork, Key... They are just looking around the room and naming things! 

"What should I name this pedal? Where did that crayon come from? Wait! That's it!" Honestly, look around the room you are in. If you look hard enough, you'll find a crayon... Somewhere. Please, people in  charge of naming these things, talk to the guy that names the Earthquaker Devices pedals. Get some tips. 

Im Going To Buy It

Yes, I have a problem. I own too many dirt pedals. The problem is that they are all so different (yet all the same). And for the most part, they are affordable. There is no pedal I enjoy more than a dirt pedal. I love them. I always like to see how they effect my tone. EHX has made them rather affordable and to me, that is a recipe for disaster. I've already hounded my local music store about getting one. When I inquired about the availability of the Crayon, my friendly pedal pusher asked me "How do you know about that?!" I make it my business to know these things. And I follow EHX on Twitter...

Want more on the Crayon? Check this out! 

Ugly Truth: JHS Muffuletta

As a Muff fan, I was excited when I heard that there was a pedal that replicated nearly every popular version of the Muff Fuzz circuit. If you haven't heard, JHS has produced a pedal that takes the Muff circuit and multiplies it by 6. Clones of each one of these pedal have been around since the beginning of cloning pedals. From what I understand, these pedal are all similar but have their own individual characteristics. Hardcore fan of the Muff style fuzz have their favorite variant, but now thanks to JHS, you don't have to choose. Should Fuzz players rejoice? We'll see.




This Pedal Has Been Around For A While

The "select a fuzz" pedal is not new. In fact, it may not even be the best one out there. Big Tone Music Brewery might have the most versatile fuzz on the market. BTMB is the sister company to everyone's favorite pedal cloners, Build Your Own Clone. BTMB have produced the Royal Beaver, and it is a beast of a thing. Is it directly comparable to the Muffuletta? not really. But it it is a boutique fuzz that has a wide range of tones. I hope it come with an instruction manual, because it has all the knobs. JHS has taken a different approach for their "all in one". A simple 4-knob interface can deliver nearly endless variation of tone.

It's Pricey

The JHS Muffuletta goes for north of $200 right now. It's a great idea and a boutique pedal, so of course it's going to be expensive. It's also going to be hand built and hopefully rock-solid. A lot has been said about the "cost-of-parts" verses the "cost-of-production" so I'll stay out of it. If you want something bad enough, then you'll shell out the dough. If not, then wait and try to catch it on Ebay, or Craigslist, but there is nothing saying that this pedal won't gain value if/when they stop production.

It's a JHS Pedal

I've written a piece about what I think about JHS here, so if you are interested, then read it. I honestly don't care who makes the pedal as long of it's a good piece of gear. I might care if is ISIS or something, but other than that...

Conclusion

Is it a great pedal? From what I've heard, it is something special. But is it right for you? you have to ask yourself. Is it important to me that I accurately replicate the sound of a fuzz from a certain era? Can you tell me the difference between a Russian Muff and a NYC reissue? If not then what JHS has done is put out a box where you can A/B all the colorful Fuzzes that you always hear being tossed about. Likely, you will find an ideal setting and leave it there. Do your self a favor, find some friends with Muffs or maybe a Youtube Channel and Make up your mind now.