The Luxury Drive / Boost
The T Jauernig Luxury Drive is a clean boost designed specifically to be used along with your dirt boxes. Put the Luxury Drive before or after your favorite OD, for some extra tone. The Luxury Drive is also one of the finest stand alone boosts you’ll ever hear. Step on it to add some fat, and just the right amount of treble. It’s “treble-licious”.
The Gristle King V3
The Gristle King has been updated per the request of Greg Koch, for whom the DGTM and Gristle King were originally created. This new version now has more gain on tap than the previous versions, yet still cleans up incredibly well with your guitar volume control. The original version was geared towards single coil pickups, but Rev. 3 works equally well with single coils or humbuckers, which makes it a more universal and versatile pedal than ever before. The Tone control now has an increased range. The Phat control is Phatter than before. There is more output, or as we like to say “Gravy” that can be applied with this new version as well. The boost circuit and pre/post switch of the previous versions also remain intact. You say you want the boost before the overdrive, no problem. But wait, there are times when post may be the choice because you want a bump in volume for a lead, but not any more gain. No problem! As always, the boost and overdrive can be used together, or separately, allowing for a range of tones unmatched by other overdrive pedals.
This is the evolution of the beloved Luxury Drive Boost.
Based on the same basic circuit as the original Luxury Drive, but 3 distinc flavors of clipping added. This pedal falls into the realm of tweed-ish overdrive tones. It can get a little snarly…if you know what I mean. It’s not a high gain pedal by any means, but it does have an attitude. The toggle selects between 3 voices of grind. The boost footswitch adds in a capacitor for a bump in low end and grind. The intent for this pedal is to set the controls of the pedal to your liking, then with the volume on your guitar dial in the rest of the shades
The “Kollmanation” Signature Jeff Kollman Dual Drive Pedal has arrived! Jeff and I worked on this pedal over a period of several months, with several prototypes to arrive at the pedal that will help Jeff achieve his KILLER tones through not only his favorite and trusty Marshalls, but anything that a backline company might have to throw at him.
The Left side is the more aggressive of the two drives. It’s an all FET signal path, with no diode clipping or opamps. There’s a gain boost and a low end boost toggle to boot. The Right side is the “boost” side. But, it makes a fine low gain drive all on its own. The boost side has a 3 position bass switch that allows you a choice of low end fat! And, to top it all off, you can change the order of the drives with the simple flip of a toggle switch. Use them independently, together, and in what ever order you like!
The Bombastortion (Jeff Kollman signature overdrive pedal) designed by Tim Jauernig.
This overdrive pedal is based on my guitar tone with the Bombastic Meatbats. We’ve been tweaking this baby for months and have the tone of the gods in one single channel, true bypass pedal.
If you love the big fat lead tones of say Gary Moore, you will need to look no further.
This T. Jauernig DGTM will add plenty of gristle and overdrive to your tone while coming in an easy to use package. This updated version has 4 controls: Gain, Tone, Volume and a Low control is all you need to get set on the path to achieving a great sound. The DGTM 2 is a fantastic pedal for the player looking to add a bit of extra grit to their tone.
The T Jauernig Reverie Reverb is a design that uses a Belton Reverb Module. The pedal simulates a long decay spring reverb. Controls are Level, Tone, and Depth. A very natural sounding reverb pedal. Runs on 9VDC external supply only.
FAT, WARM, GROWL……These are the words that describe the amps that produce THAT tone. This pedal does THAT! Vintage crunch with authority. Gain, Tone, Volume, Low Boost, Gain Boost controls allow righteous tones at all fronts!
The Tiki Tongue is something different. It’s two Magnatone type vibratos in one pedal, running in parallel. Each vibrato circuit has its own rate and depth controls. You can also set up two speeds and switch between the two with the tap of a footswitch. AND, it’s mono or stereo. When the pedal is in mono operation, there is a blend control to mix the two vibe circuits. Wait, why would you need a mix control? Besides the two independent vibes being able to run at their own rate and depth, one of them is set up with a high-pass filter, the other with a low-pass filter. The mix control allows you to blend between the two, all high, all low, or anywhere in between. In stereo, each circuit has its own output. So, you could run two amps, and one would get the high signal, and the other would get the low signal. To top it all off, even in mono, the Tiki Tongue can be used as a splitter to send your signal to two amps.
This is a digital delay based on the PT2399 IC. The pedal offers 600ms of analog type delay. But……all this comes with a twist. There is a circuit in the pedal that can be engadged that randomly adds modulation to the repeat signal in varying degrees. This gives you a more accurate representation of what degrading tape would sound like.
F-Bomb 3 Fuzz
The F-Bomb 3 is the third generation of the F-Bomb and harkens back to one of the classic fuzz circuits, The Jordan Bosstone.
Fuzz can be a very cool, or very heyneous effect to use depending on your perspective. But with the F-Bomb 3 there’s a little something for everybody.
From a mild overdriven sound, to thick fuzz, to sputtery mayhem, to fat subharmonic overtones there is a lot of sonic ground that can be covered by the F-Bomb
Sensitivity: This controls the signal strength into the input of the circuit, and the amount of gain/fuzz that can be achieved. Along with the sag control you can also use this to adjust the sound to compensate for different signal strengths of different guitars/pickups.
sag: the most powerful control of the F-Bomb 3. With this control all the way counter-clockwise the tone is milder in nature, more like an overdrive. As you turn the control clockwise you’ll notice the fuzz gets thicker and then eventually into full on wacked out psychedelia!
Mini-toggle: This toggle switch is a 3 position presence control. Set it to what sounds best to your ear, and works best with your amp. This is just preset selection of very subtle high frequency filtering. Don’t expect massive differences, but it can be very useful depending on your rig. Different settings of the sensetivity and sag controls will also affect where you may want to set this toggle.
Volume: It is what it is, and you’ll find plenty of it on tap.
The name says it all. This pedal yields that classic distortion that’s full of girth. Controls include Gain, Volume, Tone, Shape, Bright Switch, Bass Boost, Boost Volume. You can tailor all those classic tones and beyond. The Shape control is a powerful tool that sculpts the midrange frequencies over a wide spectrum of possibilities. Then….add in a clean boost after the distortion circuit that can be used seperately, or as a solo boost! The possibilities are endless. There is no opamp or diode clipping in this circuit.
Mr. Spanky Compression/Sustain
The Mr. Spanky is T.C. Jauernig’s version of a compressor pedal. You can get a great compression effect with this pedal. It gives you a nice normalization of your notes, and keeps everything even, depending on how you adjust the knobs! Speaking of which, there are five control knobs on the Mr. Spanky: Mix, Sustain, Volume, Tone, and Edge. The Edge knob controls the dynamics of the pedal, and the Sustain knob will let your notes ring and ring for seemingly endless sustain that retains tonal clarity.
2 Overdrive circuits in one pedal. The drive on the right is a lower gain drive that’s thick with tone. A 3 way toggle allows you to tailor the bass response to your rig. The drive on the left is the drive from the heralded Gristle King…with a few tweaks. This gets you into med gain territory. Or, use them both at the same time for max viscosity.
THE WHAT? How do you say that? It’s pronounced Jing-Wand. It doesn’t mean a thing, but it’s fun to say. You know you like it!
The ZHINGH-WHUNDH is “old school cool”. Plug in and go. Put it in front of a clean amp, dirty amp, whatever you got, other pedals, anything. The ZHINGH-WHUNDH is supposed to be simple. Just plug in and go. The tone is similar to “Plexi” in nature. (actual Plexi, not the modified high gain type of thing that the term Plexi gets used with too often) Low-ish gain aggression is what this is about!
LEFT KNOB – This is where you dial in the gain
RIGHT KNOB – Works in conjunction with the gain control as a texture control
VOLUME – WAIT. ?, WHAT……..MY PEDAL IS MISSING A KNOB!
We don’t need no stinking volume knobs! This is old school people. Reach down and use the one on your guitar!
That’s it. Simple is good! Plug in and play!
The “Khiron” Overdrive is inspired by a certain “mythical” overdrive pedal. Notice I said “inspired by”, it is not a clone of the original. I have had numerous requests for a clone over the years, and I even thought about doing a direct clone for a brief time. But I believe my end result is as good if not better than the original.
The original circuit has a pair of “magical” germanium diodes, a couple of opamps, a charge pump that boosts the internal supply voltage on one of the opamps to 18VDC, and a buffer circuit that is always engaged.
The Khiron circuit has no charge pump, one opamp, and no buffer circuit. The clipping produced by the Khiron happens by two pairs of clipping diodes. One pair is comprised of LED’s, the other germanium. (but these germanium diodes are not any secret Russian made miracles) It’s not that they’re germanium, or from Russia that makes the tone. Well, OK germanium does have a sonic quality when used in a pedal. In the Khiron, the diodes are carefully measured for their use in the circuit. The tone control is unique in that it affects not only the treble frequencies, but also feel of the pedal. This allows you to set up your tone with your amp, then use the tone control on the pedal to match it.
The result of these changes is a pedal that can be used as a clean boost or an overdrive without coloring your tone. If you like touch sensitive natural tone
THIS IS THE FINAL WORD!
Wordpress themes JazzSurf