With this said, why would I put this particular version in my PackRat if it is not any different than the OG? For one, nostalgia is a powerful thing, and secondly, this mode will switch to the reverse orientation V2-V3 Filter control with an entirely different feel and experience. In many ways it widens what many consider the sweet spot for the most beloved RAT tones.
Like you, I want to believe in magic models of my favorite pedals, but sometimes the magic is just because we like the look or the user experience of one version over the other. The result is that these diodes clip off the top of the waveform of the guitar and create a type of square wave distortion. This technique was a first in pedals the same clipping style was used in the Marshall Guv'nor and offered a completely new RAT experience.
The silicon diodes in previous versions have a lower forward voltage, resulting in a faster and more extreme clipping of the waveform. You could say this type of diode creates a very saturated tone. It is also worth noting that this model was the first RAT that offered the sloped enclosure that we see today. These two identical circuits with different and very nineties grunge aesthetics have the most changes so far in the evolution of this legendary circuit. This design added an input buffer circuit and soft clipping inside the loop of the op amp on top of the standard hard clipping of the previous RATs.
This pedal allowed you to have two completely separate RATs and activate them independently or stack them together. This circuit utilizes germanium diodes in the symmetrical hard clipping section of the circuit. This technique gives the most saturation and waveform clip-off of any version ever made.
In addition to the diode changes, this model has several different capacitor value changes resulting in a different distortion character and feel. It includes a great input buffer, several key capacitor changes for frequency response, and no clipping diodes at all.
A few years after starting JHS, I purchased a fascinating distortion pedal from a brand new company out of South Carolina. I remember jumping on the phone and geeking out with the designer and head of the company Philippe Herndon. We talked about the circuit, his love for RATs and his clever take on the circuit. That pedal was called the Wave Cannon and when I started the PackRat project, it was obvious that Philippe was the friend I should bring along for the ride.
Unlike the early modded DS-1s and the like, these were all built from scratch and rubber-stamped with the JHS logo. I can totally do this. I was working out in this little woodshed. I had moved everything out there, and I would literally work 16, 18 hours a day, nosebleeds from not ventilating solder and stuff.
Scott and his burgeoning business moved to Kansas City, Missouri, in JHS entered a period of rapid growth soon after, and has remained there ever since. Making one hire after another to help meet the demand, Scott now heads an organisation that totals 31 employees. I had no skillset for this, and those first years were brutal. How do I make it? Scott credits the Morning Glory with launching the company, but adds that every JHS pedal created could be a Josh Scott signature pedal, since they all stem from effects that he wants to play himself.
But it was our best-selling pedal for several years, sold out all the time, back-ordered hundreds on them. Listed among other successes are the Muffuletta fuzz and Bonsai overdrive, the latter designed after an inside joke of sorts made with fellow pedal designer and manufacturer Brian Wampler , following their joint appearance on a pedal-maker discussion panel. If every respectable maker has their own version of the Tube Screamer, how do you make yet another one?
The answer: make nine in one! Of the more recent JHS offerings, Scott professes a love for the Paul Gilbert Signature distortion, and an appreciation of the experience of working with the man himself. But he reminds me that, wow, the guitar is fun! Because of That Pedal Show, and Dan [Steinhardt] builds the Radiohead rigs and it goes into those… It was like just out-of-nowhere chaos. Having progressed through complex pedals like the Colour Box and the multi-mode Bonsai, Scott says he believes the pedal market is cyclical, and simplicity is on the comeback.
If the likes of Strymon represent the peak of post-boutique complexity, he sees a wave of renewed desire in basic pedals beginning to crest again. Visit jhspedals. Unheard song featuring George Harrison and Ringo Starr played for the first time.
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