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Les pédales Spaceman Effects sont la meilleure illustration de l’adjectif « boutique ». Ici, toutes les pédales sont en séries limitées, fabriquées avec des composants (très) haut de gamme, et possèdent des finitions exemplaires. Le son est plus qu’à la hauteur du reste, faisant de Spaceman une marque unique et rare que nous sommes fier de vous proposer.
Avec plus de huit modèles de Big Muff différents, considérés par beaucoup (dont nous) comme les meilleures recréations de ce circuit légendaire, on imagine bien la passion de la marque pour les pédales de Fuzz. D’autres circuits mythiques (Fuzz Face, Tonebender) ou 100% originaux sont aussi proposés par les californiens de Wren and Cuff.
Le succès et la notoriété grandissante des amplis de Tim Marcus, alias Milkman, n’a rien d’un hasard. Inspirés de circuits classiques, les amplis Milkman possèdent leur propre caractère et bénéficient d’une fabrication sans compromis. Allant de 5W à 85W, il y a un Milkman pour toutes les situations.
Bien souvent les guitares axés « gros son » ont un look kitch et/ou caricatural ainsi qu’un son aseptisé. Dunable Guitars casse tous les codes avec des guitares sublimes pour un son chaud et précis. Légères et très agréables à jouer, les guitares Dunable sont capable d’aller du Stoner le plus lourd au Metal le plus extrême en passant par tous les styles aux sonorités puissantes.
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[description] => [:fr]Red Panda Context V2
La Context est une pédale de reverb inspirée des reverb en rack des années 80. Elle a 8 algorithmes de reverb incluant room, hall, cathedral, avec gate, reverse, plate, spring et granular. La version 2 ajoute en plus des entrées et sorties stéréo, du MIDI USB, le contrôle par pédale d'expression externe, 3 nouveaux modes, délai et reverb dans tous les modes, des réglages séparés pour les bases et les aiguës, modulation, reverb dynamique et sustain infini.
Les algorithmes de reverb room, hall, cathedral, gate et plate sont des mises à jour des reverbs de la version 1 mais le délai est désormais disponible dans tous les modes.
Le réglage de modulation Mod change la quantité et le caractère de la modulation interne et donne un mélange de différents types de modulation des reverbs des années 80 au début 90, incluant chorus, modulation aléatoire avec pitch stable et reverb à modulation intense. Vous pouvez régler la fréquence de modulation en restant appuyé sur le bouton Shift.
La reverse reverb (inversée) est progressivement plus forte et plus brillante pour donner l'impression de jouer à l'envers et la modulation ajoute de la reverb normale.
La reverb spring n'est pas inspirée d'une reverb à ressort en particulier. Au lieu de ça, Red Panda a conçu un algorithme de reverb à ressort en utilisant les techniques et les algorithmes qui étaient utilisés dans les reverbs des années 80, mais avec beaucoup plus de puissance de traitement. Cela donne un reverb de type à ressort mais avec son propre caractère. Vous pouvez ajuster la longueur du relâchement de l'effet ainsi que les graves et les aiguës. La modulation est un tremolo avec une intensité et une vitesse ajustables. Bien sûr, le délai et les dynamiques sont disponibles également.
Le mode Grain est une reverb granulaire inspirée de la Ursa Major SST-282 Space Station qui sortit en 1978 et utilisa des délais multiples avec modulation pour créer des effets de reverb. La Context peut créer des effets de reverb fantomatiques, des résonances à balayage lent jusqu'à devenir un processeur granulaire multi-voix qui crée des nuages de fragments sonores désaccordés pour donner des sons de reverb totalement nouveaux.
Lorsque le bouton Shift est appuyé, les boutons supérieurs permettent de régler les paramètres du délai. Les boutons Hi et Lo ajustent les dynamiques en permettant de modifier le seuil et le temps de récupération. En restant appuyé sur les footswitches, vous obtiendrez un sustain infini. Le footswitch de gauche garde l'entrée active pour que le son monte. Le footswitch de droite gèle la reverb pendant que votre signal d'origine continue de jouer.
Il y a 1 preset disponible sur le footswitch de gauche et 127 via MIDI ou le footswitch externe. Une pédale d'expression ou CV (Control Voltage) peut être assignée à n'importe quelle combinaison de paramètres. Il existe enfin un éditeur en ligne pour modifier encore plus vos presets.
8 algorithmes
Room: montée rapide pour épaissir le son.
Hall : montée plus lente avec délai initial pus long.
Cath(edral) : simule un espace grand et réfléchissant.
Gate : reverb avec gate et relâchement non-linéaire.
Rev(erse) : reverb inversée.
Plate : reverb studio de type plate brillante et dense.
Spring : reverb à ressort.
Grain : reverb granulaire.
Réglages
Blend : mélange signal d'origine / effet (jusqu'à 100% d'effet).
Pre : pre-délai.
Decay : relâchement du délai.
Hi : aplanissement des aiguës.
Lo : aplanissement des graves.
Mod : quantité et caractère de la modulation.
Réglages (avec Shift appuyé)
Bal : équilibre reverb / délai.
Delay : temps de délai.
Fdbk : feedback du délai.
(Hi) : temps de récupération des dynamiques.
(Lo) : seuil des dynamiques.
Rate : fréquence de modulation.
Conçue et assemblée aux USA.
La Context 2 nécessite une alimentation standard (non fournie) de 9 Volts à 250 mA avec centre négatif.
Réglages
Blend, pre, decay, hi, lo, switch mode (room / hall / cath / gate / rev / plate / spring / grain), mod, bal, delay, fdbk, div, rate.[:en]Red Panda Context V2
The Context is a reverb pedal inspired by 1980’s rack mount reverbs. It has 8 algorithms, including room, hall, cathedral, gated reverb, reverse reverb, plate, spring, and a granular reverb. Version 2 adds stereo input/output, USB MIDI, fully assignable expression pedal, 3 new modes, delay plus reverb in all modes, separate high and low frequency damping controls, modulation, dynamic reverb, and infinite hold.
The Room, Hall, Cathedral, Gated, and Plate reverb algorithms are updated versions of the Context version 1 reverbs, but now delay is available in all modes. They also have separate low and high damping controls with more range.
The modulation knob changes the amount and character of the internal reverb modulation. It gives you a mix of different modulation types from 1980’s and early 90’s reverbs, including chorus modulation, random modulation that keeps the pitch stable, and deep modulated reverbs. Holding down the shift button adjusts the modulation rate.
Reverse reverb fades in louder and brighter over time, giving the impression of playing backwards. Modulation adds a wash of normal reverb.
The spring reverb is not a model of any specific spring reverb. Instead, we designed a spring reverb algorithm using the techniques and algorithms that were used in 1980’s reverbs, but with a lot more processing power available. It gives you the chirp, drip, and feel of a spring reverb with a slight twist. You can adjust the length of the decay, high and low frequency damping. The modulation is tremolo with adjustable intensity and speed.
Grain mode is a granular reverb inspired by the Ursa Major SST-282 Space Station. The SST-282 was released in 1978 and used multiple delay taps with modulation to create reverb effects. The Context can create ghostly reverb effects, slowly sweeping resonances, and at higher modulation settings is a multi-voice granular processor that creates clouds of detuned sound fragments for entirely new reverb sounds.
When the shift button is held down, the top row of knobs adjust delay parameters. The low and high damping knobs adjust dynamics for ducking reverb or an expander for more reverb on louder notes, with adjustable threshold and recovery time. Holding down the foot switches gives you two different types of infinite sustain.
One preset available on the left footswitch, 127 via MIDI or our remote footswitch. Expression pedal/CV can be assigned to any combination of parameters. We will also have a web-based editor for tweaking and managing your presets.
Designed and assembled in USA. The Context 2 requires a 9 V 250 mA center negative power supply (not included).
Algorithms
ROOM - fast buildup, good for thickening sounds
HALL - slower buildup with longer initial delay
CATH(edral) - emulates a large, reflective space
GATE(d) - gated reverb with non-linear decay
REV(erse) - reverse reverb
PLATE - bright, dense studio plate reverb
SPRING - spring reverb
GRAIN - granular reverb
Controls
BLEND - wet/dry blend (to 100% wet)
PRE - predelay
DECAY - reverb decay
HI - high-frequency damping
LO - low-frequency damping
MOD - modulation amount and character
Controls (shift)
BAL - reverb/delay balance
DELAY - delay time
FDBK - delay feedback
v-o-^ - dynamics ducking/off/expander and recovery time
/\-_-_ - dynamics threshold
RATE - modulation rate
[:]
[short_description] => [:fr]La Context est une pédale de reverb inspirée des reverb en rack des années 80. Elle a 8 algorithmes de reverb incluant room, hall, cathedral, avec gate, reverse, plate, spring et granular.[:en]The Context is a reverb pedal inspired by 1980’s rack mount reverbs. It has 8 algorithms, including room, hall, cathedral, gated reverb, reverse reverb, plate, spring, and a granular reverb.[:]
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[description] => [:fr]Cooper FX Arcades Card
Extra card for the Cooper FX Arcades Pedals.
Cards info here : https://www.cooperfx.com/card-details
[:en]Cooper FX Arcades Card
Extra card for the Cooper FX Arcades Pedals.
Cards info here : https://www.cooperfx.com/card-details[:]
[short_description] => Extra card for the Cooper FX Arcades Pedals.
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[description] => [:fr]Death by Audio Rooms
La Rooms est une reverb multi-fonction numérique et stéréo qui offre des tonnes de volume, des murs de sons avec gate et des ambiances de reverb lancinante avec des réglages intuitifs aux possibilités infinies.
Les 6 algorithmes de reverb de la Rooms (Room, Digit, Peak, Wave, Gate et Gong) ont été méticuleusement programmés pour délivrer un univers infini de sons et pour vous aider lors cette exploration la pédale est dotée d’un footswitch Alt. Celui-ci active un second ensemble de réglages qui permet de passer d’un réglage à l’autre et d’activer la pédale d’expression (en option).
Un mélangeur de sortie conçu en collaboration avec Electronic Audio Experiments donne un contrôlé précis de qualité studio du signal d’origine et de l’effet, de -infini à 20 fois plus de gain, permettant à la Rooms de bien sonner à a maison sur un pedalboard comme sur une console ou en enregistrement. Les transferts d’entrées/sorties et les doubles lignes de signal mono offrent beaucoup de configurations mono et stéréo et permettent de router facilement des signaux en parallèle ou pour des amplis stéréo.
• 6 algorithmes de reverb stéréo :
- Room : reverb classique simulant différentes pièces.
- Digit : reverb à filtre matrix avec des résonances inhabituelles et des répétitions fracturées.
- Peak : filtre passe-bande très intense combiné à une reverb ambiante.
- Wave : reverb avec gate, du gate classique au freeze.
- Gate : crée un effet de pitch vibrato, où le Time passe du chorus/vibrato à la reverb avec modulation.
- Gong : reverb de science-fiction…
• Footswitch Alt pour activer des réglages supplémentaires et la pédale d’expression (en option).
• Entrées/sorties stéréo pour une grande variété de routing en parallèle ou pour des amplis stéréo.
• Mélangeur de sortie haute-fidélité conçu en collaboration avec Electronic Audio Experiments.
• Alimentation : 9 Volts DC standard pour 80 mA.
Réglages
Freq, depth, time, dry, fx, f, d, t, switch mode 6 positions.[:en]Death by Audio Rooms
ROOMS is a stereo, multi function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind.
ROOMS was designed to the highest standards of flexibility and audio fidelity. A studio-quality mixer section provides independent DRY and FX controls over six meticulously programmed reverb algorithms; ROOM, DIGIT, PEAK, GATE, WAVE, and GONG. Each different verb is capable of a universe of sounds, and ROOMS is here to help you explore them.
ROOMS' creative I/O switching and dual-mono dry signal lines allow for a wealth of possible mono and stereo configurations, making it easy to route signals for parallel processing or stereo amplifier setups.
MODES AND PARAMETERS:
FREQ knob : DEPTH knob
1 - ROOM: Tone of Decay : Pre-Delay
A classic reverb that simulates many different rooms.
2 - DIGIT: Delay Time : Delay Feedback
A filter matrix verb capable of creating otherworldly resonances and fractured repeats.
3 - PEAK: Filter Frequency : Filter Resonance
A super intense bandpass filter combined with an ambient reverb.
4 - GATE: Decay Tone : Gate Response Time
A gated reverb. Short reverb times create a classic gate effect, long reverb times create a controllable freeze effect.
5 - WAVE: Modulation Frequency : Modulation Depth
Creates a pitch vibrato effect. Lowering TIME will blend out the reverb signal, allowing sweeps from chorus/vibrato to long modulated reverbs.
6 - GONG: Modulator Frequency : Blends from Aliasing (left) to Ring Modulation (right)
Ethereal, crushed reverb sounds guaranteed to make you star in the upcoming remake of DUNE and live out your sci-fi fantasies of space travel and galactic domination.
CONTROLS
FREQ: Controls the frequency parameter of the current mode.
DEPTH: Controls the depth parameter of the current mode.
TIME: Controls the reverb time in all modes.
DRY: Controls the volume of the dry signal, from -inf to 20x gain.
FX: Controls the volume of the reverb signal, from -inf to 20x gain.
ALT: Engages the ALT mode, switching between two sets of controls. When active, FREQ is controlled with the F knob, DEPTH with the D knob, and TIME with the T knob. Additionally, the ALT mode turns on expression control of either FREQ or TIME using the F<->T Switch on the side of the pedal. NOTE: Expression control ONLY works in ALT mode and when an expression pedal is plugged in.
SPECIFICATIONS
Dimensions: 5.95" x 3.86" x 2.96" (including hardware).
Weight: 18 oz.
Power: 80 mA, 9V (runs on a standard 2.1 mm negative center 9V adapter).
Expression Pedal: Almost any expression pedal will work with ROOMS. When not plugged in, the controls work as normal. NOTE: Expression control ONLY controls the F or T knobs when ALT mode is engaged and when an expression pedal is plugged in.
[:]
[short_description] => [:fr]La Rooms est une reverb multi-fonction numérique et stéréo qui offre des tonnes de volume, des murs de sons avec gate et des ambiances de reverb lancinante avec des réglages intuitifs aux possibilités infinies.[:en]ROOMS is a stereo, multi function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind.[:]
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[description] => [:fr]Catalinbread Giygas
La Giygas est une fuzz puissante avec assez d’options pour améliorer n’importe quel son dans n’importe quel genre de musique et de groupe. Le circuit de fuzz à 3 transistors est riche en harmonique et plein de sustain crémeux quand il est poussé. Le signal arrive ensuite au circuit clair à transistor JFET sans aucune distorsion harmonique. Après le mélange des 2 circuits, le signal arrive à 2 étages d’égalisation en cascade, le premier étant un boost/cut de médium à 900Hz à ±10dB, le second de type tilt qui boost/cut simultanément les fréquences au-dessus et en-dessous de 900Hz jusqu’à ±10dB. Les bassistes peuvent activer un sélecteur interne qui recentre les médiums et l’égalisation à 250Hz.
Réglages
• EQ
La position centrale est neutre, aucune fréquence n’est affectée. L’égalisation est de type tilt avec une fréquence centrale à 900Hz. Au-dessus de cette position centrale, ce réglage augmente les fréquences supérieures à 900Hz et réduit celles qui sont en-dessous. En-dessous du centre, il augmente les fréquences inférieures à 900Hz et réduit celles au-dessus. Le boost/cut maximal est de ±10dB de chaque côté.
• Mids
La position centrale est neutre, aucune fréquence n’est affectée. C’est un réglage actif de boost/cut des médiums à 900Hz avec ±10dB. Il permet à la fuzz de ressortir du mix facilement. La largeur du boost de médiums est faite pour interagir avec le réglage EQ.
• Blend
Ce réglage permet de mélanger le son clair et le son de fuzz, de 100% clair à 100% fuzz. Cela permet de préserver le son naturel de votre guitare ou des fréquences pré-définies pour faire respirer votre son. Attention à régler le volume en fonction de ce réglage.
• Loud
Ce réglage porte bien son nom (bruyant). Lorsque le Blend est au minimum, Loud permettra d’augmenter légèrement le volume. Mais avec le Blend au maximum, tous vos voisins à 1km à la ronde voudront appeler la police !
• Fuzz
En gros, ça va de "un peu" à "beaucoup" ! Il y a beaucoup saveurs différentes à disposition et la Giygas est équipée d’un petit "circuit de rétention des aiguës" qui garde la brillance même avec le Fuzz à zéro. En augmentant le Fuzz, vous ramenez à la surface toutes sortes de textures rock garage.
Sous le capot
• Sélecteur Guitar/Bass
Ce sélecteur change la fréquence centrale des réglages EQ et Mids de 900Hz à 250Hz pour un ressenti plus naturel sur basse. Ceci affecte aussi le réglage 40Hz ci-dessous.
• 40Hz
Ce réglage fonctionne comme le Mids sauf qu’il donne jusqu’à ±10dB de boost/cut à 40Hz, très utile quand vous enregistrez ou vous voulez que votre basse est plus de punch. Ce sélecteur n’est pas affecté par celui de Guitar/Bass. Le réglage d’usine est au minimum (coupure de 10dB). ATTENTION avec ce réglage, surtout si les réglages EQ et Mids sont en mode basse. Avec ce réglage au-dessus du centre, le réglage EQ augmentera la fréquence de 40Hz.[:en]Catalinbread Giygas
Featuring a plethora of useful options, the Giygas gives you everything you’ve ever wanted in a fuzz box, along with some stuff you never knew you wanted (but deep down, you totally knew). The core of the fuzz circuit is brawny and fierce, yet with plenty of violin-like sustain and articulation on tap, and the entire thing is wrapped in a clean blend circuit. From there, the fuzz gets catapulted into a gyrator-based mids boost, and then into a tilt EQ circuit. With the blend rolled all the way back, you can use just the powerful high-headroom EQ to sculpt your clean tone. A horde of options await you under the hood, ones that will make our four-stringed friends extremely happy.
[:]
[short_description] => [:fr]La Giygas est une fuzz puissante avec assez d’options pour améliorer n’importe quel son dans n’importe quel genre de musique et de groupe. Le circuit de fuzz à 3 transistors est riche en harmonique et plein de sustain crémeux quand il est poussé.[:en]Featuring a plethora of useful options, the Giygas gives you everything you’ve ever wanted in a fuzz box, along with some stuff you never knew you wanted (but deep down, you totally knew).[:]
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[description] => [:fr]JHS Pedals Legends of Fuzz Smiley
En 1966, un vendeur du nom de Ivor Arbiter vit la scène florissante anglaise en demande de fuzz. Il décida de faire entrer sa société Arbiter Electronics dans l'industrie des produits guitare et de sortir sa propre version de ce nouveau son à la mode. Après avoir vu la base circulaire d'un pied de micro, il eut l'idée de mettre l'effet dans un boîtier similaire et de lui donner l'apparence d'une tête avec 2 réglages pour les yeux, un footswitch pour le nez et le nom de la marque en guise de bouche. Ainsi naquit la Fuzz Face. La même année, un guitariste américain appelé Jimi Hendrix arriva à Londres et adopta la pédale d'Ivor comme son effet de prédilection et le reste fit partie de l'histoire. Les premières Fuzz Face furent fabriquées avec des transistors au germanium mais en 1969, le germanium fit place au silicium et Arbiter n'en changea plus. Hendrix lui-même préférait les versions au silicium à cause de leur son, leur agressivité et leur stabilité dans des environnements où le germanium était instable. La Smiley de JHS est une recréation fidèle de ces superbes premières Fuzz Face au silicium. Plusieurs pédales vintage de Josh Scott ont été analysées pour être sûr de capturer à la perfection la magie de cette époque. La Smiley est claire et définie, à cheval entre la distorsion et le sustain brûlant, entre les graves avec sustain et les médiums craquantes fidèles aux pédales vintage d'Arbiter. L'une des caractéristiques les plus appréciées d'une bonne Fuzz Face est sa capacité à s'éclaircir en baissant le volume de la guitare, et la Smiley fait cela sans effort. Le réglage Fuzz contrôle la saturation pour avoir plus de fuzz. Sur le côté se trouve un bouton Mode qui donne accès à un mode JHS avec plus de gain et de réduction de bruit dont vous ne voudrez plus revenir ! Si vous cherchez une fuzz capable de couvrir tous les sons classiques, ne cherchez plus. Les légendes comme Jimi Hendrix, Jack White, Eric Clapton, David Gilmour et Eric Johnson ont utilisé ce circuit dans de nombreux albums. Maintenant, c'est votre tour !
Réglages : Volume, fuzz.[:en]JHS Pedals Legends of Fuzz Smiley
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In 1966, a salesman named Ivor Arbiter saw the rising British rock scene demanding the effect of fuzz. He decided that his company Arbiter Electronics* needed to join the other London guitar product companies and release his own take on this trending sound. After seeing the circular base of a mic stand, he came up with the idea to put the effect in a similar round enclosure and give it a face: two eyes made of knobs, a foot switch nose, and a brand label mouth.
Thus, the Fuzz Face* was born. That same year an American guitarist named Jimi Hendrix arrived in London and adopted Ivor’s design as his weapon of choice, and the rest is history.
The first few years of the Fuzz Face* were manufactured using germanium transistors but by 1969, germanium fully gave way to silicon devices and Arbiter never looked back. Hendrix himself preferred the silicon versions over germanium because of their sound, aggressive bite, and their stability in environments where germanium proved inconsistent. The JHS Smiley is a sonically faithful recreation of what makes these early silicon Fuzz Faces great. Several vintage units from my collection were considered and analyzed so that we could be sure to perfectly capture the magic that I love in this era.
The Smiley is clear and defined, straddling the line between distortion pedal and a searing sustain, sustaining low end and crisp mid-range bite that you expect from a vintage Arbiter unit. One of the most revered characteristics of a good Fuzz Face* is its ability to clean up when the guitar's volume is rolled back, and the Smiley does this effortlessly.
The controls are Volume and Fuzz. Volume sets the overall output level of the effect; turn it up and it gets louder. Fuzz is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” control. Push this button to access our own unique “JHS Mode”. This mode sends the Smiley into high gain / gated fuzz territory that you may never want to come back from.
If you want a fuzz that covers coveted classic tones, look no further. Legends like Jimi Hendrix, Jack White, Eric Clapton, David Gilmour, and Eric Johnson have used this circuit on countless albums. Now it's your turn.
USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.
THE SMILEY DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.
[:]
[short_description] => [:fr]En 1966, un vendeur du nom de Ivor Arbiter vit la scène florissante anglaise en demande de fuzz. Il décida de faire entrer sa société Arbiter Electronics dans l'industrie des produits guitare et de sortir sa propre version de ce nouveau son à la mode.[:en]The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.[:]
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[description] => [:fr]JHS Pedals Legends of Fuzz Supreme
A la fin des années 60, le Japon était plein à craquer de superbes sociétés de pédales et d'innovations. L'un des effets les plus recherchés de cette période et de ce pays est la pédale Super-Fuzz d'Univox. Cet effet est un fuzz/octave qui transforme n'importe quelle note ou accord en texture épaisse et puissante. Il fut d'abord produit à l'intérieur d'un multi-effet de la taille d'une grande tête d'ampli appelé Honey Psychedelic Machine (1967) puis réédité quelques mois plus tard comme pédale sous le nom de Honey Baby Crying Effect. Honey devint Shin-Ei et en 1968 Shin-Ei devint la leader des pédales guitare au Japon, faisant des effets sous le nom Shin-Ei et fabricant aussi des circuits pour des dizaines d'autres marques comme Shaftesbury, Kent, Crown, Jax et Univox aux USA. Grâce à Pete Townsend de The Who, la version Univox Unicord Super-Fuzz sortit du lot et devint célèbre. D'abord produite dans un simple boîtier en métal sans prétention (1968), son look changea pour quelque chose de plus attrayant grâce à un gros balancier rectangle avec écrit SUPER-FUZZ en gros sur le dessus (1970). Rouge et bleue, noire et grise, blanche et noire, vous pouviez même choisir vos couleurs. La Supreme est une réplique exacte de la Super-Fuzz favorite de la collection de Josh Scott, un modèle noir et gris extrêmement rare. Bien que chacune des premières versions de cette pédale ait un son étonnamment similaire, ce modèle de 1972 a une certaine magie qui le distingue des autres. Imaginez une Octavia Fuzz qui s'est levée du mauvais pied : une octave/fuzz puissante, criante et vibrante, qui est toujours au maximum. Il y a 2 réglages supplémentaires sur le coté gauche : Tone enclenche un réducteur de médiums qui redresse l'attaque de la Supreme et la rend plus docile, Mode enclenche un mode JHS avec une octave plus prononcée, des médiums plus épais et plus de volume/boost disponible. Si vous voulez reproduire les sons d'octave/fuzz classiques de Pete Townsend, Black Keys, White Stripes, Beastie Boys et Mudhoney, cette pédale est faite pour vous !
Réglages : Volume, expand.[:en]JHS Pedals Legends of Fuzz Supreme
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.
Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.
The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.
The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.
If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.
USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.
THE SUPREME DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.
[:]
[short_description] => [:fr]A la fin des années 60, le Japon était plein à craquer de superbes sociétés de pédales et d'innovations. L'un des effets les plus recherchés de cette période et de ce pays est la pédale Super-Fuzz d'Univox.[:en]The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.[:]
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[description] => [:fr]JHS Pedals Legends of Fuzz Crimson
En 1969, Electro-Harmonix sortit la première version "Triangle" de la légendaire distorsion fuzz Big Muff. Tout au long des années 70 sortirent plusieurs révisions du fameux circuit telle que la v2 "Rams Head" (1973), la v3 "Pi" (1977), la v4 "Op Amp" (1978), mais tout s'arrêta en 1984. Electro-Harmonix fit faillite pour la 2ème fois, ferma ses portes et la Big Muff sacrée disparut pendant presque 10 ans. Au début des années 90, Mike Matthews remarqua que ses pédales Electro-Harmonix des années 70 se vendaient à prix d'or. En 1991, il conclut un accord avec une société de fabrication ex-soviétique à Saint-Pétersbourg et redonna vie à la Big Muff. Cette nouvelle version était techniquement la 7ème version de la désormais célèbre Big Muff, mais puisque Mike ne possédait plus les marques déposées, il l'appela la "Mike Matthews Red Army Overdrive" par Sovtek. C'est la toute première Big Muff fabriquée en Russie jamais produite et probablement la plus rare de toute. Fabriquée seulement en petite quantité entre 1991 et 1992, très peu d'exemplaires existent encore, la rendant quasiment impossible à trouver aujourd'hui. Elle partage certaines caractéristiques avec la fameuse version "Civil War" Sovtek (1992) mais elle a sa particularité. Plus chaude, plus claire et avec plus de définition que n'importe quelle Soviet Big Muff qui suivit, la Red Army offre une variation unique d'un effet très célèbre. La Crimson est une réplique exacte de la Red Army Overdrive de Josh Scott, vous permettant d'avoir une pièce unique de l'histoire de la fuzz. Le réglage Tone permet d'obtenir des sons brillants ou sombres qui font que la Crimson s'adapte très bien à différents types de guitares et d'amplis. Le réglage Distort contrôle la saturation pour avoir plus de fuzz. Sur le côté se trouve un bouton Mode qui donne accès à un mode JHS avec plus de gain et un boost des médiums pour faire ressortir votre solo du mix. Si vous aimez les sons des Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes et Dinosaur Jr, cette pédale est faite pour vous !
Réglages : Volume, tone, distort.[:en]JHS Pedals Legends of Fuzz Crimson
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In 1969, Electro Harmonix released the first “Triangle” version of the legendary Big Muff distortion fuzz. All throughout the 1970’s we see various new revisions of this famous circuit like the V2 "Rams Head” (1973), V3 “Pi” (1977), V4 “Op Amp” (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade.
In the early 90’s Mike Matthews noticed that his 1970’s Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*.
This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* “Civil War” (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history.
The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never before heard “JHS Mode”. Push that button for a mid frequency boost that forces your sound through the mix.
If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you.
USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC,OR YOUR WARRANTY WILL BE VOIDED.
THE CRIMSON DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.
[:]
[short_description] => [:fr]En 1969, Electro-Harmonix sortit la première version "Triangle" de la légendaire distorsion fuzz Big Muff.[:en]The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.[:]
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[description] => [:fr]JHS Pedals Legends of Fuzz Bender
En avril 1965, un nouveau produit changea le rock & roll pour toujours. Depuis les ateliers de Macari's Musical Exchange à Denmark Street à Londres, Gary Hurst inventa la fuzz Tonebender Sola Sound. En partant de la Maestro Fuzz Tone US de 1962, Gary approfondit ce que la fuzz pouvait faire et donna ainsi un son nouveau à la scène londonienne florissante. A commencer par son premier prototype fait d'une simple boîte en bois (avril 1965) jusqu'aux nombreuses autres versions officielles de la Sola Sound comme la MKI (septembre 1965), la MK2 (milieu 1966), la MK3/MK4 (février 1970), etc, la Tonebender a évolué tout comme la musique qu'elle a contribué à créer. La JHS Bender est notre manière de recréer la plus précieuse Tonebender de la collection personnelle de Josh Scott : sa version "Onomatopoeia" argent/orange MK3 de 1973. Cette version a 3 transistors au germanium très spéciaux, des tones de mojo et plus de 50 ans d'expérience, mais elle est pointilleuse et elle ne fait pas toujours ce qu'on attend d'elle. JHS voulait reproduire le son de cette pédale en la rendant plus stable et facile à fabriquer. Et le résultat est une pédale qui vous donne le toucher, le ressenti et le répondant d'une fuzz vintage au germanium mais avec la précision et la stabilité de transistors au silicium soigneusement sélectionnés. Le réglage Tone permet d'obtenir des sons brillants ou sombres qui font que la Bender s'adapte très bien à différents types de guitares et d'amplis. Le réglage Attack contrôle la saturation pour avoir plus de fuzz. Sur le côté se trouve un bouton Mode qui donne accès à un mode JHS avec plus de gain et un boost des médiums pour faire ressortir votre solo du mix. Avec plus d'Attack dans ce mode, vous aurez un peu de réduction de bruit en fonction de l'attaque de votre jeu. Si vous aimez les sons de fuzz de Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie) et My Bloody Valentine, alors la Bender est faite pour vous !
Réglages : Volume, tone, attack.[:en]JHS Pedals Legends of Fuzz Bender
The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.
At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.
In April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create.
The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange “Onomatopoeia” version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors.
The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never-before-heard “JHS Mode”. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about.
If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.
USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.
THE BENDER DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.
[:]
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