Beneath the tremors of our newly unleashed series of noise devices lies the proto-Godzilla of chorus and tape saturation: ROYGBIV - a classic yet unorthodox
take on a dual pt 2399 chorus, loaded with the classic JPTR FX noise manipulations and an extremely dynamic filter.
As colourful as a full spectrum rainbow and just as variable, ROYGBIV embodies the JPTR FX philosophy of musically expressive pedals that demand your manipulation. The enclosure comes equipped with the classical depth and speed parameters, which are further complemented with noise, frequency and grind controls, allowing you complete sonic freedom between Lo-Fi tape saturation and glassy warble. Apply dubbed "Tape Quality Manipulator", ROYGBIV has a great range of texture and frequency, replicating all manner of tonal colouring of a vintage VHS machine.
ROYGBIV combines versatility and metamorphic tweakability with the simple controls of an analogue circuit. As always, this pedal shines just as well outside of its element as within, delivering the finishing touch for keys, bass and vocalists alike. And, once again, we embrace the spontaneity with the additional foot switch that kicks the speed parameter to maximum, for instant Leslie rotations.
Our take on the driving sound behind Boards of Canada, and our grateful nod to the 80s and the legendary Juno and Dimension Choruses - fused with our itch for noise and frequency shifts. We are proud to introduce you to our VHS colour vision.
Transform your human sound to a superior machine with the JPTR FX RAMROD. A massive sounding dual filter guitar synth that will deconstruct your tone and bring it to challenge phase 1.
With built in gain and adjustable presets for the two individual filter values, the Ramrod delivers mammoth subs and auto wah like phase shifts that beautifully ramp bass lines and rhythm patterns. Physically manipulating the gate knob to let the Ramrod swirl off into self oscillation, or tapping on the morph switch for rapid filter jumps turns this pedal to its own purposefully independent instrument. Further dive into its possibilities by adjusting the stab knob to offset the stability parameters, resulting in anything from a set frequency accompanying your original signal at minimum, and large warbling spikes of your base signal at maximum settings.
Just like its namesake, The Ramrod is a disguised robot. When coupled with a sequencer, for example, the source device functions as a control voltage (CV) for the Ramrod, regulating the pitch and frequency of the sequence via external source, while all other core functions remain intact. This feature allows for the Ramrod to synchronize with a variety of other analog synthesizers and drum machines.
The Ramrod is an autonomous cyborg, a sententious, mechanic experience - and, as always with JPTR FX - is a multifunctional machine. Use it for raw and distorted drum patterns, low and fluttering bass loops and grinding synth leads. With each pulsating burst, you will find yourself chanting “Ja tvoi sluga” and accepting that Kraftwerk were right.
Wir sind die Roboter.
Somehow I found an old Akai gx 210d, one of those old tape machines your grandpa was using when listening to his recordings.
This device had a lovely saturation when you plugged your guitar into and dialled everything in the red area.
The sound of the old reel to reel tapes; girth that I was obsessed with.
This is what the JIVE - REEL Saturatior exactly reflects. If you want to add some age to your guitar, bass, synth, whatever and like to get some of the old vintage vibe and feel. You can use it as a volume boost, semi transparent overdrive, ennoble your sound with variable distortion or tear some walls down with a LOTS of DB. It is up to you.
You have 3 switches for some extra age, which add different types of gain to your sound.
If you are into lofi garage whatever or just want to make your synth sound like 1972, this is your dream come true.
Controles: Gain/Volume/diode clipping
runs at 9v to 18v!
Iconic sounds are often a product of struggle and compromise. They are unmistakable, genuine, and have the potential to leave a mark on society.
They are bold, out of place and larger than life. They fight back, claim their prize but never abandon their humble beginnings.
They are the Silbermaschine.
Two gain stages in a parallel circuit, competing for an unrefined and unbuffered vintage fuzz conquest. With one shared master volume to keep it simple but never stupid, the Silbermaschine´s gain knobs act as a filter, delivering tones that range from sizzling drives to rich, dynamic fuzz. Pushing the gain stages even further brings out the upper octave, instantly reminiscent of Woodstock, with a twist of Beatnik club nights and LoFi Psychedelic Garage seances.
The Silbermachine retells Fuzz history in a modern iteration. Its versatility carries tones between Benders and Faces, but infinitely less compressed and deliberately open in character. A first in less aggressive gain spectrums for JPTR FX, and definitely the most versatile. Its humble looks may be deceiving, for this spacecraft can take you anywhere - past, future and present alike.
A new interpretation of a time-tested attitude.
Controlls: Gain 1, Gain 2, Master Volume
If you are the kind of earth dweller who loves to drench their chords in ambient infinitude, drown their fuzzes in a ceramic cave, or subtly coat your rhythmic playing in a liquid swirl of overtones, the JPTR FX KALEIDOSCOPE is the right tool for the job.
It isn't just any ordinary big reverb. Like its namesake, the Kaleidoscope reflects your signal, be it once or more, each duplicate meshing together harmoniously while adding compression, modulation and copious amounts of feedback frenzy to your signal.
A pedals musicality is fundamental at JPTR FX. As such, the Kaleidoscope was designed to complement and adapt to all manner of styles and inputs: Use it with your drums, synths and vocals to further explore the cavernous and layered reflective depths within Roll back the reverb and dime the feedback control for lush, rhythmic wobbles that twist and girate along to your sound beds Roll everything back for a saturated, sustained compression sound to elevate your seat in the mix All the while, 3 separate control stages offer you instant shifts in depth, texture and oscillation, ranging from the warm and haunting cloudscapes we have come to love, to an all-wet, crispy whisper with the help of the designated Dry Kill Switch.
And - if the mood strikes - push and hold the momentary switch at the heart of the Kaleidoscope's enclosure to extend your drone into perpetuity. With a medley of relective possibilities at each turn of a knob, the Kaleidoscope is a breath of fresh air to the end of any pedal chain. Its only downside might be that none of it might ever sound as exciting when it's turned off.
Feedback/Oscillation/Reverb/Gain/Master/Dry Kill Switch
The JPTR FX Super Weirdo will be your closest friend and best kept secret, the kink in your playing. We truly outdid ourselves on our weirdness with this one. It's up to you to outdo yours.
On the surface, the Weirdo is disguised as an early 90s style gated fuzz with a dedicated low pass filter knob to effortlessly find your place anywhere in the mix. However, this three headed beast delivers fuzz, time modulation and momentary glitch-bombs all in one enclosure.
The core operation of this unit is to further enhance the input signal with an advanced, time based modulation effect: a Pulse Width Modulator. Two dedicated knobs allow the player to multiply and manipulate their playing. The Feedback Mix controls the amount of modulated signal added to the base sound, acting almost as a doubler. A further Time Amount knob controls the distance between each modulated pulse, enabling the addition and separation of layer upon layer, resulting in that Siamese wall of thick, dynamic and articulate Fuzz.
Beyond this, an extra momentary foot switch gives the player expressive freedom to disrupt the signal with quick bursts of oscillation - aptly named Glitch. And, to guarantee all manner of expressive possibilities, we gave it an expression in.
The Super Weirdo is a testament to its name. Unearthly, alien and downright trippy, its possibly the only pedal that simultaneously builds monumental walls
while tearing them apart..
Controls: Time (Exp in) / Modulation / Feedback / Volume / Tone
In todays arena of delay effects, the longing for a far travelling sound and the thrill of uncharted spaces dictate the game. The FERNWEH Multi Echo Module is our answer from JPTR FX to what we consider to be the foundation of time-bending and unrestrained delay. Like its German namesake, the Fernweh is harder to abstract than to feel. Its a cardinal need to go far away, becoming closer and more intimate as it becomes less familiar.
The Fernweh operates as two stacked delays that can be controlled separately to cover your sound in a soft, atmospheric haze. This unique design allows the player to configure different time settings between the two delays, which can often result in elaborate rhythmic patterns or reverb style textures, followed by a lush trail. Should you choose to get aggressive with these settings, we have given the Fernweh a momentary switch for infinite self-oscillation, and another switch to warp between time settings, switching from time A to B repeatedly. Set the time settings further apart for a rich, textured delay warping into a drenched, glistening reverb. Turn both times up and swap back and forth between the launch into space and the shattering descent back into orbit. Throughout all of this, our delays core sound always remains soft and familiarly vintage.
While the two delay signals are always running into each other, fear not, for we have a simplistic solution for this otherwise superabundant time travelling machine: isolate your delays by just turning down one of the mixes, and voilà - a straightforward delay.
However, for those of you who find yourselves looking to further push the limits of the Fernweh, we suggest diming the mix knob. A light boost will be engaged with the mix turned all the way up, adding some extra dirt for your sonic extravaganza. Couple this with an expression in for both feedback and delay time and the Fernweh can be in your complete time-travelling control. This beautifully crafted and bizarre vintage style delay is hand built with tender love and care and prepared to weird up your sound.
This expansive delay is more than a temporal effects pedal. It is a trampoline between the unsophisticated and habitual, or the wondrous and the uncommon. It's fast response and dynamic range make it a perfect live tool for haunting sceneries and frenetic solos. The Fernweh is, without a doubt, the a delay that certainly wants to take you places.
Sound seven trumpets for the APOKALYPSE, the black box of your journey to hell . Within it, you will find a bi-channel tube preamp with mesmerising compression
and intuitive controls for maximum tonal and expressive liberty, and as such, our most audiophile-friendly pedal yet.
This colossal yet very board friendly amp in a box is the perfect addition for those who seek a consistent and mobile, tube driven pedal platform, but also those pursuing a sophisticated tube foundation to build sounds upon. Its functionality and inherent tonal range make the Apokalypse a valuable resource both live and in the studio, giving access to organic tube compression with inexhaustible EQ controls at your feet. From vocals and winds to pianos and percussion, Apokalypse will excite your arrangements and grow hair on any instruments chest.
It comes equipped with two 12ax7 Mesa Boogie tubes which are overpowered to 300 Volts, delivered by it's complimentary 15-18V DC, 600ma power supply. It's impeccable foundation is the product of an intensive collaboration with the German amp guru and commander of Redstuff Amplification, Stefan Hüther, who not only designs, but also hand etches each circuit board of each unit.
Its controls are straightforward for ease of use during any and all situations. Three switches allow you to engage, explore two separate gain stages, or entirely bypass the expansive EQ portion of the pedal completely. This enables you with both subtle, hairline adjustments, as well as dramatic on the fly shifts in tube compression and tonal foundation. The two individual controls for the gain stages provide options from flourishing cleans to mouldable, saturated drives. And, as with all our contraptions, an LED diode clipping can be added via an external switch.
Apokalypse is the perfect tool for the practical musician and the recording enthusiast, for performers and engineers alike. Its many possible applications and tastefully natural tube break up will tempt you to never turn it off, possibly until the end of time.
One of our most curious, most intimate instruments, and certainly a JPTR FX classic, is the DRUMTHING. Inspired by 90s guitarists who attached Piezo pickups to their tremolo cavities to produce percussive and alien sounds, we embarked upon a design that could incorporate a musical, intuitive and bizarre instrument in pedal form. We may have ended up with something even more eccentric.
The Drumthing consists of three vital components: Springs + a Piezo microphone + an over-driveable preamp Because fuck your ears. At face value it is a simple percussive little box that adds the sounds of springs to your signal. Pluck them, strum them, flick them, stomp, kick and curse at them in a foreign language. Play them with a violin bow, an e bow or heat them up with a blow torch. There really are no rules with the Drumthing.
The Drumthing is easily underestimated due to its rather simple seeming function. But take into consideration that this box will react to its surrounding just like any microphone would. Placing it on an amp will immediately incorporate the amps own vibration, translated through the overtones produced by the springs. Change the springs, remove or modify them for even more possibilities outside its percussive element. Remove the springs entirely and you have a piezo mic in a box, which you could Velcro on to any surface, instrument or flooring to capture deep, overlooked sounds in any venue, studio or even inside a bass drum.
The Drumthing is many a thing but certainly beyond being summarized in any number of sentences. It is as simple as a resonator guitar for your pedalboard, or a stomp tool while playing country at a club. It could be also be as complex as your entire industrial percussion section, or a means to record and capture the un-recordable. Turn your surroundings and everything within it into instruments of their own.
AND YES THERE IS A UNPUT JACK
The one, our cult classic and storm in a teacup, the JPTR FX Gainsaw is all its name suggests. Gut churning and compressed, it delivers bright, wide and open
sounding fuzz with a simple, single knob circuit.
A gated distortion at heart, the gainsaw works perfectly with your volume pots, placing its tonal range anywhere between Satisfaction and Siamese. It is undoubtedly the loudest pedal you will ever hear, but also equally effective whisper quiet. Its single volume knob allows ease of use and intuitive playing, keeping all the clarity intact despite gargantuan levels of gain. It is perfect for low tunings and sounds remarkable when boosted - although it is highly doubtful one would need more.
The JPTR FX Gainsaw sounds like the engines of two colliding trucks while keeping all manner of feedback at bay. It's big open tone, massive gain reserves and bizarre low end harmonics will - quite literally - blow you away.
The TESLA WOLF OVERDRIVE is a JPTR FX staple, our quintessential low gain paragon that started it all. In an understated and classical style, it's modus operandi is very simple: kick it & rip it.
Its simple controls allow for clear-cut and straight forward execution: a master volume, gain structure, low pass filter and a voltage choke shape its remarkably versatile base sound, which can go anywhere from soft clipping and a small pat on the but to a full concussion received at a stoner-doom gig where the stacks come tumbling down. Meanwhile, the voltage choke allows you to get that dying 9V sweltering fizzle, just without having to assault mother nature with evil batteries, and controllable range from a stabbed speaker (3 o'clock) to a sustain killing broken radio (noon) and glitchy little octave sputtering (<12 o'clock).
Like with all things, it is the beast which is out of sight that is the most terrifying. As such, we have expanded the Tesla with additional internal dip switches to further fine tune your gain structure and base orientation, essentially turning this single pedal to four individual overdrive pedals in one housing:
Switch one activates two silicon diodes, while switch two introduces two military grade (and over 3 decades old) germanium diodes, for a tight, tube like sound and classic, vintage-inspired fuzz clipping. The third dip switch gives the base orientation a tight & tidy smack - familiar from the old rodent-inspired gadgets from the late 70s - by adding two pairs of LED's to the circuit. The fun with combining all classically sought after clipping diodes in one housing doesn’tend there: turning all of them on or combining them reveals this humble overdrive to be a behemoth of gain possibilities. Conveniently, we have left a hole in the back for easy, tool free and gig-friendly access.
The TESLA WOLF is more than just an overdrive for us. Stripped, bare and convenient, it covers the most ground in both late and modern overdrive history, ranging anywhere from the early Kinks stabbed speakers to modern and tight, and everything in between.
It's no secret that we have a soft spot for noise. Over our delirious adventures within the boundaries of all things sonically captivating and conceivable, we have yet to find something that represents our philosophy as simply and honestly as the FEEDBACK FUCKER.
It's a passive feedback looper with a single pot to control the feedback intensity. Due to its very nature, its application may at first seem somewhat predictable. And while that may very well be the case for some, for others this pedal will be the figurative 'box of chocolates' filled to the brim with new ideas, discoveries and excesses.
It truly is our simplest pedal yet, but contrarily has the means to produce the most complex audible responses and transform any individual, assembly or cluster of pedals into a right mess.
While we have many recommendations for this pedal, sharing any of them would undermine its purpose of experimentation and discovery. In fact, our only recommendation is for you to take your time with it. Bob Ross it, even. Add one dirt pedal here, a happy little modulation pedal there, perhaps switch the order and add a bit more feedback, and voilà: a whole new thing you can do with what you already had lying around.
If you have ever held the frivolous belief of ever buying a final pedal, consider the humble Feedback Fucker. It will scramble delays, reverse wahs, sharpen filters, revv up distortions and all other perversions of pedal profligacy. And regardless of what you anticipated - you will appreciate every happy accident its journey brings your way.