Last month we took a look at some of the most popular JHS Pedals. While these guitar pedals have become instant staples on players boards everywhere, we felt like there were still some other awesome pedals that we left off that list. In this post, we are going to take a look at five amazing pedals that have been developed in collaboration with 5 amazing artists. Check out these pedals and how they helped artists like Ryan Adams and Mike Campbell further develop their tone.
The VCR was created in collaboration between Ryan Adams, his recording studio PaxAm, and JHS Pedals. You can hear this pedal all over his newest record “Prisoner”. This is a Volume/Chorus/Reverb pedal that has been heavily inspired by 80’s artists like The Smiths and The Cure. This pedal is built to transport your playing back into the 80’s with the push of a button.
This pedal is built with simplicity in mind. The true bypass switch acts as a master on/off. Then each effect has a toggle that allows you to choose which of the effects you want to use. The Volume/Boost knob is a transparent boost that can be used to help enhance your tone or it can push your amp into overdrive territory. The chorus effect is set to a basic 80’s analog chorus effect. At noon, the effect emulates a pedal with all knobs at noon. As you turn the knob to the right the Chorus rate will increase and the depth will decrease. The inverse is true as you move the knob to the left. The Chorus depth will increase and the rate will decrease. The simplicity of this design allows you to plug and play rather than spend all of your time looking for that perfect tone.
Reverb has become a signature effect on Ryan Adams records so it is no surprise to see it included on this pedal. Just like the Chorus, the Reverb effect is dialed to the preferences of Ryan Adams and is ready to go with the flick of a switch. The knob simply is an effect level that will allow you to mix in the reverb effect to taste. This pedal is perfect for this singer-songwriter or anyone who needs to let out some inner angst.
This Echo/Slap Delay/boost was brought to life by Josh Scott and Tim Marcus from Milkman Sound. The idea was to have an all in one pedal that could help enhance smaller and more simple amps. The right side of the pedal is a simple boost that can be left as an always on effect to add a little bit of gain to your tone, or you can turn it past unity to begin pushing the amp into overdrive.
The left side of this pedal is the echo-slap delay. The longest delay time on this pedal is 240ms so if you are looking for long lush trails this is not your pedal. Instead, this pedal looks to help players achieve a unique blend of an Analog tape delay with a Bucket Brigade Delay. The slap knob will allow you to choose your delay time. The rest of the controls are pretty self-explanatory. The mix allows you to blend in the effect to taste. Turn the knob all the way to the right for a 100% wet mix. The Repeat control will allow you to choose the number of echoes this pedal generates. Finally, you will have an EQ knob which will allow you to affect the brightness or darkness of the echoes. Note that the EQ only effects the delay tone and not your guitar tone.
This is a 2-in-1 pedal, so either the boost or delay can be run independently or simultaneously.
This pedal was created in collaboration with Mike Campell and JHS pedals. You may recognize him as longtime guitarist for Tom Petty and the Heartbreakers, but he has a long list of other notable artists he has worked alongside. These include Don Henly, Stevie Nicks, Jackson Browne, and George Harrison.
The Calhoun is a two-in-one drive/fuzz pedal that aims to serve both Campell’s studio work and live performances. The left side of this pedal covers the overdrive territory of the Calhoun. The drive portion of the drive offers up four controls Volume, Drive, Bass, and Treble. These are straightforward and work exactly as you would expect.
The right side of the pedal is the fuzz section and has control over Volume, Fuzz, Bias, and EQ. The Volume works the same way as the left side of the pedal. it is simply a master control over the level of each effect. Fuzz adjusts the intensity of the fuzz effect. Bias adjusts the voltage in the circuit. AS you turn it up you increase the headroom or you can turn it down for wearer more saturated tones. EQ allows you to adjust the brightness of the effect so it is not lost in the mix.
This pedal also includes a toggle switch that will allow you to change the order of the two effects. Just like the VCR, this is an easy to use drive/fuzz pedal created for players who just want a no frills pedal that always sounds great.
The Ruby Red was built for Butch Walker of Marvelous 3. It is a new take on their instant classic, The Superbolt. In fact, the left side is exactly The Superbolt drive that we all know and love. This drive recreates the tones from the old Supro amps. Since it functions like an amp, this pedal is great for low or high gain applications. The Ruby Red adds a + toggle which allows you to add more compression and gain to the circuit.
The right side of this pedal is an independent boost which will allow you to over saturate the superbolt circuit or operate as a solo boost to bring out your lead lines. There is also a toggle which allows players to flip the order of these circuits.
The AT overdrive started out as the Angry Charlie drive but has been tweaked at the suggestion of guitarist Andy Timmons. This drive offers up four controls. The first three are typical of any drive pedal and the last is unique to the AT. There is volume, EQ, and drive and each function as expected. The fourth control is labeled Air. This knob controls a low pass filter that is focused on the higher frequencies. It works in combination with the EQ control which accomplishes the same effect but focusing more on the lower end frequencies.
There is also a three-way toggle which adjusts the headroom fo the pedal. The different positions of the toggle are designed to emulate different wattage amps. Down is 50 Watts, Up is 25 Watts, and in the middle, the pedal is set to 100 watts. Just like an amp, these different modes affect the amount of drive and volume available. In the 25 watt mode, the pedal is quieter but offers up more drive. The 100 watt mode is much cleaner and sounds a little punchier.