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JHS Pedals: Must-have for every (Home) Studio

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Must-have for every (Home) Studio

The first Colour Box was designed to reproduce the characteristic sound of "direct-in" recordings with guitar signals plugged directly into legendary Neve studio consoles. That was in 2014 and producers as well as musicians liked it so much that they used the preamp pedal not only for guitar but all kinds of instruments, from vocals and drums, through bass, keys or synths, through to room mics. The results can be heard, for example, on studio and live releases by U2, Wilco, The National, Spoon, Collective Soul, Muse, War on Drugs, or Phantogram. This inspired Josh Scott to expand the circuit into a 500 series studio module for high-end professional needs.

Now, the V2 version of the Colour Box Pedal follows suit with extended features:

• additional XLR jacks with optional phantom power for microphones
• three new Shift controls to define the frequencies of the EQ section as needed: Treble 1 to 15 kHz, Mid 160 Hz to 2.5 kHz, Bass 20 to 400 Hz
• new Hi/Lo switch selects between Clean Mode (Lower Gain) with massive headroom for 100% clean sounds or Distorted Mode (Higher Gain) with tonal coloration from slight overdrive to fuzz
• Pad switch to activate -20 dB for the XLR input
• silent switching technology dismisses "switch-pops"
• standardized power supply with 9V DC

Bottom line: With the finely adjustable EQ and useful improvements, the Colour Box has become even more versatile as a recording tool. Coming in a compact stompbox format, it easily brings to the stage "direct-in" sounds that used to be hard to reproduce until not so long ago.

Also new: Paul Gilbert Signature Distortion

Almost typical of JHS, this drive pedal has an interesting feature in common with the Colour Box: It's the Mid-Freq control, which allows to purposefully select the mid frequencies so important for guitars. The gain of these frequencies can be raised or reduced with the active preamp behind the Mid knob. This design feature gives users a vast sweep of tonal possibilities with any amp or guitar combination. And thanks to the FET-based distortion engine, the touch, feel, and response of a tube amp stack pushed to its limit can be had already at low volume levels.

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