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WHEN TRANSPARENT OVERDRIVE ISN'T GOOD ENOUGH
We took our most legendary overdrive to a new level and redefined what it means to be transparent. Clearer pick attack, improved low end, and more versatile gain stacking.
This is the ultimate first-stage overdrive pedal.
IT STARTED AT SOUND CHECK.
I watched Julian Lage dial in his tone at a soundcheck in Chicago. Vintage Fender amp. Collings semi-hollow guitar. He adjusted pickup heights, moved positions on stage, chasing the perfect balance. It was captivating.
Julian has used a Morning Glory for years — he's a big reason it ended up on jazz pedalboards worldwide. After the soundcheck, we discussed what he looked for in an overdrive. One thing led to another. My brain started wandering off into different ideas. Could we make the Morning Glory even better?
THE PROBLEM WITH TRANSPARENT.
When you add overdrive — any type of clipping — you lose nuance. Pick attack gets compressed. Dynamics narrow. All overdrives shape frequency response, even the most transparent.
So we tried something no one's done: we took our Morning Glory (a Bluesbreaker-style topology) and completely rebuilt it around a studio-grade parallel clean blend. Not just a modification, a redesign from the ground up.
On paper, it seemed pointless — why blend a clean signal into something already transparent?
Here's why. The Morning Glory's magic happens when you turn up the Drive, the circuit boosts higher harmonics and adds soft compression. Jangly. Perfect in a mix. The parallel clean circuit lets you keep all that while dialing the natural low end back in — all the tone, all the character. Nothing compromised.
THIS ISN'T A CLEAN KNOB SLAPPED ON A MORNING GLORY.
For those wondering — let's talk about what's actually happening inside.
The Clean control uses a dual-gang potentiometer. As you turn it, clean gain scales proportionally with the drive signal — it’s perfectly engineered from the ground up. Most clean blends are an afterthought — a simple mix knob tacked onto an existing circuit. This one was designed so the two signals track together across all gain settings. No volume jumps. No weird phase issues. Just seamless blending from Morning Glory to pure signal and everything in-between.
The power section runs on a ±9V dual supply — the same topology as our V4 — which gives you higher headroom than the original V1 circuit and any other Bluesbreaker-style pedal out there. This is where most clones get it wrong. Think of it as the original Version 1 Morning Glory voicing with the V4 engineering enhancements.
The Tone control affects only the overdrive path. Your clean signal stays parallel and untouched. For the people who care about this stuff: this is the most thought-out and sophisticated Morning Glory we've ever built.
ENDLESS HEADROOM, ANY VOLUME.
Endless headroom. Those massive clean guitar sounds that you love on recordings — most were made at volumes that would get you evicted. The Morning Glory Clean gives you the stiffness and authority of a high-wattage amp at the edge of breakup — without the earplugs.
Think of the Clean control as adding back in wattage, clarity, and punch.
IT GOES ON EVERYTHING.
Stack a distortion in front and the sustain opens up instead of closing off. Run it after delay for new territories of series/parallel textures. First-stage overdrive? This is the best we've ever built. Period.
It breathes in front of amp modelers too. The overdrive and presence of the classic Morning Glory, with your attack and low-end content dialed back in — magic in front of a Kemper, Quad Cortex, UAD, or Helix.
Bass players: the original Morning Glory rolls off low end just like a final mix. That's why you love it — that's why it's become a standard on so many pro bassists' boards. The clean blend dials that low end back on command for your different bass and amplifier needs. This might be the best bass overdrive we've ever made.
Who this isn't for.
This pedal isn't for everyone and we're confident in saying that. If you want the dopamine hit of a wild new sound, look elsewhere. If you want tons of controls, tweakability, bells and whistles — this is not that. This pedal does less while giving you more. No bad sounds. Immediate gratification. Leave it on and forget it's there.
CONTROLS
Volume — Adjusts the overall volume in conjunction with the drive and clean.
Clean — Full left: original Morning Glory. Full right: pure clean signal. Start with Clean and Drive maxed, dial Clean back (counter clockwise) until you find your perfect balance.
Drive — Saturation. Crank it and use the Clean control as your balance. This pedal is designed to be used this way.
Tone — Classic Morning Glory tone stack. Affects only the drive path. Back for warmth, forward for clarity.
Clean Boost Pro Tip – Morning Glory Clean can be used as a stand-alone clean boost. Set the Clean to 100% (fully clockwise) and increase the Drive. In this configuration, the Drive will not produce any overdrive clipping - only clean volume boosting.
2007
Sometime in early 2007, Josh fixes his BOSS BD-2 Blues Driver by replacing a footswitch that isn't activating properly. Because of this, he becomes super interested in how pedals work and in their circuitry.
Around April 2007, Josh begins to modify his friends' pedals and decides to start selling modified BOSS pedals under the name JHS Mods. These pedals are sold at his friend's local guitar shop, Fondren Guitar, in the Fondren area of Jackson, MS. The first modified pedals ever sold are the Lexi Drive (modified DS-1) and Blu Drive (modified Blues Driver). These early units have a simple black label with a green JHS Mods logo and are all modified in a small upstairs attic room on a folding card table.
2008
Josh begins learning to build his favorite pedals from scratch, leading to original JHS pedal ideas and designs. The earliest JHS releases include the Pulp 'N' Peel, the All American and the Morning Glory. The Morning Glory is created by reinventing his favorite Marshall Bluesbreaker pedal.
Sometime in mid-2008, the name JHS Mods is replaced by JHS Pedals to reflect the more diverse product line that now includes modifications and custom pedals.
Josh builds a DIY website, causing more online growth and providing a wider reach than his local customer base, which is also growing.
Every pedal from 2008 is still being built in Josh's spare room on a folding card table.
2009
In the summer of 2009, Josh relocates from Jackson, MS, to Tupelo, MS. He repurposes his brother-in-law's small backyard tool shed, transforming it into a functional work area. Almost immediately, he installs a window AC unit to combat the scorching 100+ degree Mississippi summer days. It is in this shed that the Double Barrel, Sweet Tea and numerous other designs take their initial form.
This becomes the focal point of Josh's first press interest when a newspaper article showcases the shop's distinctive pink walls, which are actually insulation sheets Josh and his dad used to retain cold air. Consequently, the shop earns the moniker "The Pink Palace" among friends and local guitarists who frequent the space.
During this period, Josh also introduces his original designs to the public by selling them at Mainstreet Music, a guitar shop in Tupelo. Furthermore, Josh collaborates with Drew Shirley of Switchfoot to launch the BunRunner fuzz pedal. This collaboration propels the company into a faster trajectory of growth and notoriety, attracting the support of many major artists.
In the fall of 2009, the JHS shop makes another move, this time to Josh's father-in-law's backyard workshop in Ecru, MS. It is from this location that the Mini Foot Fuzz, Pollinator and various other designs are first crafted and sold.
In December of 2009, Josh relocates to Kansas City, MO, driven by the escalating demand for his products. Recognizing the need for assistance, he brings in Nick Loux, the original JHS employee, and his lifelong friend Khaleed to join him in the endeavor of building guitar pedals.
The unfinished basement of their new Kansas City home undergoes a transformation into a fully equipped JHS shop, where up to six employees work side by side to craft pedals. As demands continue to grow, Josh and the team eventually make the transition to JHS’s first official commercial location, situated off Main Street in Grandview, MO.
2011
The Grassroots Dealer Campaign is initiated in the summer of 2011, marking JHS's proactive efforts to establish B2B dealer relationships. In a remarkable span of approximately thirty days, JHS experiences substantial growth, expanding from 5 to 50 retailers.
2012
Josh Scott embarks on a collaboration with the Chicago Music Exchange to create his own guitar pedal demos. This collaboration marks one of the pioneering instances of a pedal manufacturer partnering with a retailer to produce demo video series within the industry.
2013
JHS introduces a teaser video for the Moonshine Overdrive, marking the inception of the JHS Teaser Video Series and initiating a trend within the industry for this form of marketing.
In September 2013, JHS Pedals is selected for Premier Guitar magazine's Pedal Builder Profile, representing the most significant press coverage for JHS up to that point.
2014
JHS makes its debut at the Winter NAMM Show in Anaheim, CA, marking a significant milestone for the company. At the show, they unveil the Colour Box V1, a pedal that represents a groundbreaking innovation and a departure from the conventional pedal norms.
2015
Josh and Robert Keeley collaborate on a pedal and release the Steak and Eggs Overdrive/Compressor, marking an industry first for two competing boutique pedal companies to collaborate on a major scale.
The Muffuletta teaser video is recorded during a brief 2.5-hour trip to New Orleans, and the product is released on September 15, 2015. The Muffuletta format represents a first for JHS, establishing a multi-pedal format with perfect analog replication of vintage/rare pedals instead of digital emulation.
In November 2015, JHS partners with Andy Timmons on the AT "@” Artist Pedal, which is subsequently released.
2016
JHS makes a groundbreaking announcement by introducing possibly the two most requested nonexistent guitar pedals of all time, namely the Bulb and the See Saw. Witnessing it is a must to truly believe it!
Additionally, JHS ventures into the realm of pro audio with the debut of the JHS 500 Series.
2017
Josh and Nick Loux embark on a collaborative journey, creating multiple video series, including “Combos,” “That Sounds Neat” and “Hot Trax,” which serve as early precursors to The JHS Show. Some of the most intriguing and enjoyable content arises from experimenting with and promoting other pedal companies' pedals instead of their own JHS gear.
Simultaneously, Josh delves into teaching guitar history at public events, leading him to realize that he might derive more enjoyment from this than making pedals. The jury's still out on this intriguing revelation.
On September 8th, the BOSS JB-2 Angry Driver is released, a pedal resulting from a collaboration between JHS and Boss to celebrate Boss's 40th anniversary. This is a significant honor for JHS Pedals.
2018
Following the same format as the Muffuletta, the Bonsai makes its debut at the January 2018 NAMM Show and promptly becomes the most successful JHS release up to that point.
On May 31st, Josh and Nick release the first episode of The JHS Show, marking the beginning of a new venture for JHS in the realm of content creation.
2020 + COVID
In a collaboration with Paul Gilbert, JHS introduces the PG-14 Paul Gilbert Artist Signature Pedal at the January 2020 NAMM Show.
In March 2020, the COVID-19 pandemic emerges, prompting JHS to swiftly adapt to the "new normal" by implementing safety measures for builders to socially distance in the shop and encouraging as many employees as possible to work from home.
Despite the challenges posed by COVID-19, on May 15th, 2020, JHS releases the Legends of Fuzz pedal series.
On October 2nd, 2020, JHS launches the 3 Series of pedals, further expanding their product lineup.
±9V Dual Supply (massive headroom)
Top-mounted jacks
9V DC Center Negative
Silent Buffered Bypass Switching
THIS PEDAL MEASURES 2.6” X 4.8” X 1.6” AND CONSUMES 60mA. DO NOT USE MORE THAN 9VDC. DAMAGE MAY OCCUR AND YOUR WARRANTY WILL BE VOIDED.
Payments as low as $15/mo.