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J Rockett Audio Designs

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J Rockett Audio Designs
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Items 1 to 5 of 5 on page 1 of 1
J Rockett Archer Ikon Boost & Overdrive Effects Pedal (gold)
Cat: 783204 Rel: 30 Sep 20
 
Boost pedal
Notes: The Archer Ikon is sort of a 2 in one guitar pedal. It can be used as just a clean boost by turning the gain all the way down. As you introduce gain it will attenuate the clean signal but there is a magical blend in between that you will find. Please experiment!!

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

Buffered Switching
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MRP:$238.77 SAVE 13%
 1 in stock $208.25
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J Rockett Audio Design El Hombre Texas Blues Overdrive Effcets Pedal
Cat: 875078 Rel: 13 May 22
 
Based on the classic tones of bearded Texas legend Billy Gibbons (ZZ Top), El Hombre is the ideal overdrive for those feeling the blues or ready to rock all night.
Notes: Based on the classic tones of bearded Texas legend Billy Gibbons (ZZ Top), El Hombre is the ideal overdrive for those feeling the blues or ready to rock all night. Capturing the nuances and touch sensitivity of an amplifier, El Hombre can go from mild to wild with the turn of the gain knob showing its versatility with each guitar plugged into it. From added harmonics to chewy sag El Hombre has it all. The El Hombre is simple in format but complex in its abilities. The tone section is highly effective allowing you to alter the drive style simply by adjusting the "Bite" control. When you bring the bite control up (Clockwise) it becomes more aggressive, turn it down (counterclockwise) making it smoother and more reminiscent of Dumble tones.
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MRP:$238.77 SAVE 17%
 1 in stock $197.74
J Rockett Uni-Verb Analogue Univibe & Reverb Effects Pedal
Cat: 889647 Rel: 17 Aug 22
 
Classic Univibe Tones with additional Reverb.
Notes: Experience the legendary analogue tones of the original Univibe with modern functionalities. The Uni-Verb is a modern twist on the classic Univibe. However, J Rockett have added features to enhance the already amazing effect you get. The Uni-Verb recreates the classic sounds you would expect but J Rockett have also added a vintage spring tank reverb to make it drip even more. The Uni-Verb runs at 24v just like the original but that is achieved internally. You only need to use a standard negative tip 9v supply making it much more convenient without having to fuss with conversion. The classic Univibe sounded best before drives and other effects, so a loop was built in, enabling you to separate the Vibe and Reverb. Both effects can be run individually or together. Some of the features of a classic Univibe left it a little basic such as a lack of control over the turnaround thump of the effect. The Uni-Verb has two separate controls for the chorus section (Chorus Mix and Intensity) allowing complete control over the intensity and turnaround thump of the chorus. The intensity control also controls the vibrato, however, the Chorus/Mix control does not. Both sections blend seamlessly into the output control which allows for slightly more volume than a vintage Univibe and both effects will vibe/chorus faster and slower than the original. Modern iterations of the vintage Univibe tend to be too intense and less musical, J Rockett have achieved the perfect balance just like the original and added Reverb on top for more atmosphere.

Packaging dimensions: 14 x 8.8 x 5.7 cm
Weight: 0.9kg
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MRP:$520.66 SAVE 19%
 1 in stock $419.68
J.Rockett Audio Designs Hot Rubber Monkey V2 Classic Dumble Overdrive Effects Pedal
Cat: 955527 Rel: 07 Jul 23
 
Classic dumble overdrive effects pedal with HRP EQ modulation.
Notes: The HRM V2 is designed to achieve the overdriven sounds of a D style amp with the HRM EQ mod. This EQ mod creates a very low-mid centric throaty sound where the guitar frequencies live. The touch sensitivity and quickness gives the effect of immediacy and cuts through the mix.

For this V2 version J Rockett were able to spend about 2 years living with an actual Dumble Amplifier with the HRM EQ mod, and attention was paid to the subtle nuances to make an even better version than the previous HRM. This pedal, even at lower gain settings, will bloom and feedback making it feel like the real thing. Some very nice NOS parts were that enhance the authenticity of the V2 version and most importantly it makes it fun to play.

One of the great happy accidents is the pedal can achieve some of THE best Tube Screamer sounds you could ask for with more control over the EQ.

Successor of HRM v1 but dramatic improvement when it comes to authenticity and closeness to a real Dumble amplifier.

Based on an ultra-rare, actual (!) Dumble amplifier with HRM mod, distinguishing it from HRM v1, which was based on JRAD's 'Dude V2'.

Developed by J. Rockett after living with the actual Dumble amp for over 2 years, ensuring meticulous craftsmanship.

Exceptional touch sensitivity, quick responsiveness, and ability to cut through the mix.

HRM (Hot Rubber Monkey) is a popular modification by Howard Dumble, adding gain stages and tonal options, enhancing versatility and sonic capabilities.
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 1 in stock $244.02
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J Rockett Airchild Six Sixty Compressor Effects Pedal
Cat: 1008780 Rel: 30 Jun 24
 
Compressor effects pedal
Notes: The Fairchild 660 studio compressor is consistently regarded as the best compressor ever made. For years, the original Fairchild 660 and 670 (Stereo) compressors have been extensively used in studios. This inspired J. Rockett to offer that sonic signature to the guitar community at a fraction of the $30k+ price tag.

The typical guitar compressor is the "Dynacomp", which has created iconic tones throughout the history of music, especially in Country music. That said, it's widely acknowledged that there are already countless Dynacomp variants available.

"The 'typical Dynacomp circuit' tends to crush the sound more like a limiter. This characteristic has cemented its sound into certain genres of music, which some may find desirable.

The Team at J. Rockett aimed to provide a compressor that works like a studio compressor, enhancing harmonic richness and evening out transients without crushing the entire spectrum.

The Airchild Six Sixty simply makes you want to play more. It increases sustain without crushing your output, imparts richness to your overall tone, and adds feel to your playing. The target tones were the slide tones of Lowell George and the singing lead/rhythm tones of Mark Knopfler.

The Fairchild 660 Compressor was designed by Rein Narma, who had worked with Les Paul to build a recording mixer for use with Les Paul's Ampex 8-track. Les Paul asked Narma if he would build a compressor/limiter. Sherman Fairchild, who was friends with Les Paul, learned of the compressor and licensed Narma's compressor design, hiring Narma to be chief engineer at Fairchild Recording Equipment Corporation. The first 10 Fairchild 660's were built by Narma himself. The first unit was sold to Rudy Van Gelder who used it to cut lacquer masters for Blue Note Records and Vox Records. The second unit went to Olmsted Sound Studios in New York City and the third 660 built went to Mary Ford and Les Paul.

Notable users: Abbey Road Studios purchased 12 Fairchild 660s after staff engineer Peter Bown heard it during a visit to Capitol Records in America. They used it on recording sessions for the Beatles, primarily for vocals. Beginning in 1966, Geoff Emerick began using the 660 on Ringo Starr's drum tracks as well as piano and guitar tracks. As of 2014, Abbey Road still had 8 of the original 660s purchased in the 1960s.

"We put the drum sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Sgt Pepper really. Drums had never been heard like that before." (Geoff Emerick)

Compressors are probably the most misunderstood effect that also have incredible impact on the delivery of music. There is not a professional recording in history that does not have some sort of compression. Gain is a form of compression, even EQ is a form of compression.

A compressor is used to reduce a signal's dynamic range-that is, to reduce the difference in level between the loudest and quietest parts of an audio signal.

Compression is commonly used to attenuate loud transient peaks (e.g., when a singer suddenly belts out a high note or a guitar player digs in to a note with muscle) compression helps maintain a consistent level. Compression essentially causes distortion in a signal, in that it changes the original sound of the signal through its processing. The compressor typically achieves this by emphasizing certain harmonics based on how the compressor is hitting the incoming signal. The job of this peda;l is to make that distortion feel transparent and to use dynamics to create the best-sounding performance possible. Use your ears!

In compression, the dynamic range becomes narrower - the highest peaks and the quietest parts have fewer dB of level difference between them. In contrast, a compressor can also help support or bring to life soft notes as well. For guitar, compression helps with sustain and feel. Using compression in front of an amp with gain or a gain pedal essentially just adds more compression and is typically not very audible. A good compressor will help sustain notes without introducing noise or artifacts in an amp or pedal with gain but typically works best in a clean amp to hear the effect. You will typically hear compression on country guitar, at least as an audible full throttle effect. Most players do not utilize this sound because a squished signal limits dynamics, however, if used correctly it can increase dynamics across the board. One of the best descriptions about compression is that it is the opposite of reverb. If you think about that it is true. Compression brings the full dynamic force forward in a balanced manner where Reverb creates space and distance.
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est. release 30 Jun 24 $251.39
(No payment required now - pay when released)
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