Nineties-style high-gain heaviness that can be surgically tailored with a powerful EQ.
Excellent variations on high-gain modern distortion tones. Powerful EQ.
Not many low- or mid-gain sounds here.
$199
JHS Hard Drive
jhspedals.com
JHS makes many great and varied overdrive stomps. Their Pack Rat is a staple on one of my boards, and I can personally attest to the quality of their builds. The new Hard Drive has been in the works since as far back as 2016, when Josh Scott and his staff were finishing off workdays by jamming on ’90s hard rock riffs.
During these sessions, Scott’s go-to pedal was the Ibanez SM7 Smash Box. He realized that JHS had never offered anything along those lines, conferred with his then lead engineer, Cliff Smith, and the wheels were set in motion. Over several years of design, the Hard Drive evolved from an SM7 homage to a unique, original circuit.
JHS’ Hardest to Date
The Hard Drive’s control panel is streamlined, consisting of knobs for volume, mid frequency, drive, bass, middle, and treble. Driven by cascading gain stages, the Hard Drive can cop a wide range of modern distorted tones. Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end on muted power chords. Nudging the drive up very slightly transforms the Hard Drive into a roaring Marshall JCM 900. And if you bring the drive all the way up, you’re in for all out chaos. Even with an amp set just louder than bedroom levels, the Hard Drive, with its volume at just 11 o’clock, is very loud and in-your-face. You don’t have to work hard to imagine how this could sound and feel like multiple stacks raging at Madison Square Garden in the context of a recorded track.
Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end.
Zoning the Frequencies
Unlike some heavy pedals that concern themselves with mega-gain and little else, the Hard Drive’s EQ controls are very effective and powerful. Moving the treble knob from 11 o’clock to 1 o’clock changes the pedal’s tone and response characteristics completely, opening up and transforming the naturally relatively dark sound of my Fender Super Sonic amp. Turning the treble knob all the way off with the bass and mid knobs at noon gives me a vocal lead tone that’s creamy, warm, and still immediate and responsive.
The middle and mid frequency controls work in tandem. The mid control itself works as a cut or boost. The mid frequency control, however, lets you choose the specific frequency you cut or boost. I found these controls invaluable for sculpting tones that could leverage the copious gain without being abrasive. Meanwhile, adding more high midrange lends clarity to complex chords.
The Verdict
The Hard Drive is an unapologetically heavy pedal—if you’re looking for a dirt box that can double as a clean boost, well, the Hard Drive is not that. It’s meant to slay with gain, and it performs this task well and with a vengeance. There are countless dirt boxes on the market that deliver hot rodded, ’80s-style brown sound. Fewer cater to the subsequent generations of high-gain players that used the ’80s as a mere jumping-off point. The Hard Drive is very much voiced for this strain of heavy music. If that’s your jam, the Hard Drive is hard to beat.
- JHS Pedals SuperBolt Overdrive Review ›
- JHS and Madison Cunningham Launch Signature Artificial Blonde Vibrato Pedal ›
- Builder Profile: JHS Pedals ›
Our columnist has journeyed through blizzards and hurricanes to scoop up rare, weird guitars, like this axe of unknown origin.
Collecting rare classic guitars isn’t for the faint of heart—a reality confirmed by the case of this Japanese axe of unknown provenance.
If you’ve been reading this column regularly, you’ll know that my kids are getting older and gearing up for life after high school. Cars, insurance, tuition, and independence are really giving me agita these days! As a result, I’ve been slowly selling off my large collection of guitars, amps, and effects. When I’m looking for things to sell, I often find stuff I forgot I had—it’s crazy town! Finding rare gear was such a passion of mine for so many years. I braved snowstorms, sketchy situations, shady characters, slimy shop owners, and even hurricane Sandy! If you think about it, it’s sort of easy to buy gear. All you have to do is be patient and search. Even payments nowadays are simple. I mean, when I got my first credit card…. Forget about it!
Now, selling, which is what I mainly do now, is a different story. Packing, shipping, and taking photos is time consuming. And man, potential buyers can be really exhausting. I’ve learned that shipping costs are way higher, but buyers are still the same. You have the happy buyer, the tire kicker, the endless questioner, the ghoster, and the grump. Sometimes there are even combinations of the above. It’s an interesting lesson in human psychology, if you’re so inclined. For me, vintage guitars are like vintage cars and have some quirks that a modern player might not appreciate. Like, can you play around buzzing or dead frets? How about really tiny frets? Or humps and bumps on a fretboard? What about controlling high feedback and squealing pickups by keeping your fingers on the metal parts of the guitar? Not everyone can be like Jack White, fighting his old, red, Valco-made fiberglass Airline. It had one working pickup and original frets! I guess my point is: Buyer beware!
“They all sound great—all made from the same type of wood and all wired similarly—but since real quality control didn’t really exist at that time, the fate of guitars was left up to chance.”
Take, for instance, the crazy-cool guitar presented here. It’s a total unknown as far as the maker goes, but it is Japanese and from the 1960s. I’ve had a few similar models and they all feature metal pickguards and interesting designs. I’ve also seen this same guitar with four pickups, which is a rare find. But here’s the rub: Every one of the guitars I’ve had from the unknown maker were all a bit different as far as playability. They all sound great—all made from the same type of wood and all wired similarly—but since real quality control didn’t exist at that time, the final state of guitars was left up to chance. Like, what if the person carving necks had a hangover that day? Or had a fight that morning? Seriously, each one of these guitars is like a fingerprint. It’s not like today where almost every guitar has a similar feel. It’s like the rare Teisco T-60, one of Glen Campbell’s favorite guitars. I have three, and one has a deep V-shaped neck, and the other two are more rounded and slim. Same guitars, all built in 1960 by just a few Teisco employees that worked there at the time.
When I got this guitar, I expected all the usual things, like a neck shim (to get a better break-over string angle), rewire, possible refret, neck planing, and other usual stuff that I or my great tech Dave D’Amelio have to deal with. Sometimes Dave dreads seeing me show up with problems I can’t handle, but just like a good mechanic, a good tech is hard to come by when it comes to vintage gear. Recently, I sold a guitar that I set up and Dave spent a few more hours getting it playable. When it arrived at the buyer’s home, he sent me an email saying the guitar wasn’t playable and the pickups kept cutting out. He took the guitar to his tech who also said the guitar was unplayable. So what can you do? Every sale has different circumstances.
Anyway, I still have this guitar and still enjoy playing it, but it does fight me a little, and that’s fine with me. The pickup switches get finicky and the volume and tone knobs have to be rolled back and forth to work out the dust, but it simply sounds great! It’s as unique as a snowflake—kinda like the ones I often braved back when I was searching for old gear!
Bergantino revolutionizes the bass amp scene with the groundbreaking HP Ultra 2000 watts bass amplifier, unlocking unprecedented creative possibilities for artists to redefine the boundaries of sound.
Bergantino Audio Systems, renowned for its innovative and high-performance bass amplification, is proud to announce the release of the HP Ultra 2000W Bass Amplifier. Designed for the professional bassist seeking unparalleled power and tonal flexibility, the HP Ultra combines cutting-edge technology with the signature sound quality that Bergantino is known for.
Operating at 1000W with an 8-ohm load and 2000W with a 4-ohm load, the HPUltra offers exceptional headroom and output, ensuring a commanding presence on stage and in the studio. This powerhouse amplifier is engineered to deliver crystal-clear sound and deep, punchy bass with ease, making it the perfect choice for demanding performances across any genre.
The HP Ultra incorporates the same EQ and feature set as the acclaimedBergantino Forté HP series, offering advanced tonal control and versatility. It includes a highly responsive 4-band EQ, Bergantino’s signature Variable RatioCompressor, Lo-Pass, and Hi-Pass Filters, and a re-imagined firmware that’s optimally tuned for the HP Ultra’s power module. The intuitive user interface allows for quick adjustments and seamless integration with any rig, making it an ideal solution for both seasoned professionals and rising stars.
As compared to previous forte HP iterations (HP, HP2, HP2X), Ultra is truly its own amp. Its behavior, feel, and tonal capabilities will be well noted for bass players seeking the ultimate playing experience. If you’ve been wishing for that extreme lead sled-type heft/force and punch, along with a choice of modern or vintage voicings, on-board parallel compressor, overdrive; high pass and lowpass filters, and more—all in a 6.9 lb., 2ru (8” depth) package...the BergantinoHP Ultra is worth checking out.
Building on the forte’ HP2X’s leading edge platform (including a harmonic enriching output transformer (X) and 3.5db of additional dynamic headroom (2),the HP Ultra’s power focus is not about playing louder...it’s about the ability to play fuller and richer at similar or lower volumes. Many players will be able to achieve a very pleasing bass fill, with less volume, allowing the guitars and vocals to shine thru better in a dense mix. This in turn could easily contribute to a lower stage volume...win-win!
Key Features of the Bergantino HP Ultra 2000W Bass Amplifier:
- Power Output: 1000W @ 8ohms / 2000W @ 4ohms, 1200W RMS @2-Ohms (or 1700W RMS @2.67-Ohms-firmware optimizable via USB
- Dual Voicing Circuits: offer a choice between vintage warmth and modern clarity.
- Custom Cinemag Transformer: elevates harmonic enrichment to new heights
- Variable Low-Pass (VLPF) and Variable High-Pass (VHPF) filters, critical for precise tone shaping and taming of the most challenging gigging environments.
- 4-Band Tone Controls: Bass: +/-10db @40hz, Lo-Mid:+/-10db @250hz,Hi-Mid: +/-10db @ 1khz, Treble: +/-10db @ 3.5khz
- Punch Switch: +4db @110hz
- Bright Switch: +7db @7kHz or +6db @2khz – user selectable● Built-in parallel compression - VRC
- 3.5dB of additional dynamic headroom
- New Drive Circuit featuring our proprietary B.S.D (Bergantino SmartDrive) technology
- Auxiliary Input and Headphone Jack: for personal monitor and practice
- Rack Mountable with optional rack ears
- Effects send and return loop
- Studio quality Direct Output: software selectable Pre or Post EQ
- UPS – Universal power supply 115VAC – 240VAC 50/60Hz
- Weight: 6.9 pounds
- Dimensions: 13.25”W x 8.375”D x 3.75”H
- Street Price: $1895.00
For more information, please visit bergantino.com
The NEW Bergantino Forté HP ULTRA!!! - YouTube
When you imagine the tools of a guitar shredder, chances are you see a sharp-angled electric 6-string running into a smokin’-hot, fully saturated British halfstack of sorts—the type of thing that’ll blow your hair back. You might not be picturing an acoustic steel-string or a banjo, and that’s a mistake, because some of the most face-melting players to walk this earth work unplugged—like Molly Tuttle.
The 31-year old Californian bluegrass and folk artist has been performing live for roughly 20 years, following in a deep family tradition of roots-music players. Tuttle studied at Berklee College of Music, and has gone on to collaborate with some of the biggest names in bluegrass and folk, including BĂ©la Fleck, Billy Strings, Buddy Miller, Sierra Hull, and Old Crow Medicine Show. Her 2023 record, City of Gold, won the Grammy for Best Bluegrass Album.
The furious flatpicking solo on “San Joaquin,” off of that Grammy-winning record, is the subject of this unplugged episode of Shred With Shifty. Shiflett can shred on electric alright, but how does he hold up running leads on acoustic? It’s a whole different ballgame. Thankfully, Tuttle is on hand, equipped with a Pre-War Guitars Co. 6-string, to demystify the techniques and gear that let her tear up the fretboard.
Tune in to hear plenty of insider knowledge on how to amplify and EQ acoustics, what instruments can stand in for percussion in bluegrass groups, and how to improvise in bluegrass music.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
A touch-sensitive, all-tube combo amp perfect for clean & edge of breakup tones. Featuring a custom aesthetic, new voicing, & Celestion Creamback 75 speaker.
Debuted in Spring 2023, the Revv D25 is a clean/crunch combo amplifier perfect for pedals that released to widespread critical claim for its combination of touch-sensitive all-tube tone & modern features that make gigging & recording a breeze. 'D' stands for Dynamis, a series of classic-voiced amplifiers dating back to the early days of Revv Amplification, when A-list artists like Joey Landreth helped give feedback on voicings & designs. Joey is a longtime Revv user & personal friend of the company, & the D25 immediately became a favorite of his upon release.
While the D25 already had features Joey was looking for, we wanted to collaborate to celebrate our long relationship & give players a unique option. We’re proud to announce the D25 - Joey Landreth Edition. Featuring custom aesthetic, new voicing & a Celestion Creamback 75 speaker. The D25 is designed to solve problems & remove the barrier between you & your music - but more importantly, it just plain sounds great. It features a simple single-channel layout perfect for clean & edge of breakup tones. With organic tone you can take anywhere, the D25 - Joey Landreth Edition empowers you to focus on your music on stage, in the studio, & at home.
The D25 - Joey Landreth Edition 1x12 Combo Amplifier features:
- All-tube design with two 12AX7, two 6V6, & selectable 25w or 5w operation.
- Level, treble, middle, bass, & volume controls with switchable gain boost voice.
- Perfect for clean & edge of breakup tones
- Organic, touch-sensitive feel, perfect for pedals.
- Pristine digital reverb & transparent buffered effects loop.
- Two-notes Torpedo-embedded mono direct XLR out reactive load & impulse. responses for zero-compromise direct performance & recording.
- Celestion 75W Creamback Driver
- 32 lbs. Lightweight open-back construction
- Manufactured in Canada.
- 2 year limited warranty
Revv’s D25 Joey Landreth Edition has a street price of $1899 & can be ordered immediately through many fine dealers worldwide or directly at revvamplification.com.
For more information, please visit revvamplification.com.
