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I really like the look of this. It has a really versatile set of tone controls (including a low-cut switch on the side) as well as a clean boost. I've seen it demoed with both electrics and acoustics and it seems to stay clean and transparent. It's simple an easy to use and seems like it would be really functional.
CLOVER
– JHS Pedals
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06-08-2026 05:41 PM
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And...................an XLR out.
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I have a gig coming up in a loud club with a loud band (I’m told) and a decent sound system in a few weeks. I’m very tempted to try one for this without an amp, given the XLR out and more than basic EQ. There seems to be no reason to use my Blu6 as a DI box, and I’ve been planning to use my Quilter Overdrive 202 in the 12” BlockDock with the DI output run into the house system. But that’s overkill, since the 202 would be more than loud enough without reinforcement.
Originally Posted by Jim Soloway
I’ve used my original ART tube preamp as a DI for years, and it’s worked well with a laminated archtop that has limited high end. But the only front end EQ I have with that rig is the guitar’s tone pot and cable length. Real EQ would be handy if my tone needs a tweak there. Despite its weight, I’m probably going to use the LP7 on a soft 3” strap and a high stool that I can sit on or lean against.
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The Quilter Superblock US has an amazing amount of tone shaping available (much more than this pedal) as well as being useful as an amp head (with the larger power supply). What would be the advantage of this pedal over the Superblock?
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$120 and it fits in my Mono gig bags Originally Posted by Stringswinger
Besides, I have TC BAM & BQ500, Blu 6, EG250, and 2 Quilter Tone Blocks (202 and Overdrive, at least until I sell the OD202 currently posted because I don’t need all these amps).
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I have a Mach 3, a Bud 6 and a Superblock US. I think my old age amp needs are very well met. The Superblock fits in my gig bags quite well. I also have a Baggs Para acoustic DI for the acoustic guitars. Originally Posted by nevershouldhavesoldit
$120 and it fits in my Mono gig bags Besides, I have TC BAM & BQ500, Blu 6, EG250, and 2 Quilter Tone Blocks (202 and Overdrive, at least until I sell the OD202 currently posted because I don’t need all these amps).
With the JHS pedal, wouldn't you need a reverb pedal as well?
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Neither of the TC heads has reverb, and I don't have a reverb pedal. I don't really miss it, although I use a little through amps that have it. I grew up without reverb. My first big amp was a Magnatone with 4 speakers (10s or 12s - I don't remember). I went to an Ampeg B15N in 1963 and used it for about a decade. I then used a series of bass amps (Bassman 50, Genz-Benz, G-K, Phil Jones, SWR etc) for jazz. I had to get a "more modern" amp for weddings etc in about '71 at the firm request of the leader for whom I worked. So I got a 2x10 Kustom 150. Late in that decade (1970s), I sold the Kustom and bought an original Boogie "Mark 0" before there was a Mark 2. I also acquired a Twin in about 1980 and used the Boogie or Twin on big gigs and blues gigs for about 30 years. So I'e used reverb a fair amount - but most rooms don't really seem to need it at all. On blues gigs with the smooth OD I prefer, reverb doesn't really add anything IMO and may even detract from the tone a little. Originally Posted by Stringswinger
I bought a SBUS in about 2022 and used it for a few years with a Toob or my RE 10. I did love it, but by 2024 I'd also accumulated a Little Jazz, a Vox Night Train lunchbox head, the EG250, 2 Quilter Microblocks, the Blu 6, a Quilter OD202, a Phil Jones Briefcase, a PJ Cub, 2 G-K MB150s, and a few others I don't even remember. So I sold off the ones I wasn't using much (if at all) and the SBUS was one of them.
I agree with you completely - the SBUS is one great little box. If I come across a good used one, I may buy it just to use as a DI - but first, I'd like to try the JHS. I love the FET preamps in the TC heads. They're warm and tube-y (as is the SBUS), and I'd like to try the JHS approach just to see how it compares.
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The more I learn something about JHS Pedals, the more they feel interesting to me. Originally Posted by Jim Soloway
For instance, the Haunting Mids, the Double Barrel... or this Clover, and a few more.
If you decide to give it a try, please let us know your thoughts.
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The one that caught my attention is the Colour Box. It does everything this preamp box does, but can add varying amounts of Originally Posted by Pierrot
color" (ir grit) depending on your needs. Very flexible EQ, direct out, said to be like a Neve preamp.
The Neve I have has an incredible warm DI sound for direct guitar, it's always been my go to for that.
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I bought a used one from a fellow forum member to try as a pedal amp. I still have one Raezer's Edge Cabinet left, a Stealth 12ER made by Rich himself. I actually tried to sell that cabinet as it is 35 pounds, and I am no longer interested in carrying it (and I hate carts). But the price has dropped so low on used RE cabs, I decided to just keep it. I have been using the Superblock with the RE cabinet as my practice rig and it is an amazingly good sounding combination. So now I have a great pedal amp/DI for playing an urban, ampless gig and also a great practice rig with my old RE cabinet. I suppose the RE cabinet would be useful for an outdoor gig where the single 12 of my Mach 3 or the small speaker of my Bud needs sound reinforcement to move more air? But for a pedal amp, the Superblock is a winner for me. I like a dash of reverb, so the JHS pedal for me, would require bringing a reverb pedal as well. Originally Posted by nevershouldhavesoldit
David, you seem like Jack Z. You guys seem to need to try all the gear that is available and that is lucky for the rest of us as we get your reviews on this stuff here on the forum. Jim too (to a lesser extent). Perhaps you guys can let us know how you like the JHS Clover?
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I'm honored to be considered as anything like Jack as a musician and judge of our instruments. I used to buy and later resell a lot of stuff (mostly used) just to find out what it was like. Most of the stuff was returned or resold rapidly - but I got a lot of experience and occasionally found a keeper of some kind. Among many guitars, amps, effects, strings, and accessories, I bought one of the first Hot Rod Deluxes, an early Peavey Bandit, the first Gretsch archtop after the name was resurrected, two early PRSs (a Custom 22 and a Custom 24), a mid '70s Ibanez 345 clone (NAMM demo), the first year 165, etc. The experience was priceless, and I don't think I lost any money overall. Originally Posted by Stringswinger
Some of the little stuff was worth keeping around just in case. I bought one of the first Crybaby pedals my dealer got (abour 1967) and kept it for several years, even though I rarely used it. Interestingly enough, it saved the day when I was a sideman recording at Sigma. It was early in Sigma's reign as a top studio in the US (1969 or 70). They recorded regional acts at a reasonable price when they had open studio time early on. The act was George Lane and the Ranchers, an average country rock band (heavier on the country). George was a Johnny Cash clone who was cutting his first (and last, as far as I know) record, a 45. The two sides were Where Mary Goes and the Devil and HIs DIsciples, both written by Jimmy Decker (who was their guitarist for a few years but had recently left the band).
I was hired to play lead guitar. But I also did the charts and showed each member of the band their parts, playing drums, bass, piano, and rhythm guitar to do so. We started at about 9 PM and ran to midnight. When it was obvious that it wasn't going to get any better, the rest of the band packed up and left. While I was packing up, the engineer (who IIRC was Joe Tarsia, the founder and legendary force behind the Sound of Philly recordings and so much other fabulous music) came over to me and said "You can't leave yet". He wasn't happy about releasing the tapes for mastering because he was concerned that they sounded really poor and would reflect badly on Sigma.
He asked me if I'd re-record the drums, bass, piano, guitar parts, and harmony vocals as a favor. I figured it couldn't hurt to have him as a friend, so I did it. He wanted some kind of effect in the leads, and I happened to have that Crybaby in my gear bag, along with an EH LPB-1 (my other effect). So I pulled them out, plugged them in, and he loved it. Both sides were good enough for him to have it mastered. It was released to the deafening applause of one hand clapping, and I doubt that it sold more than 100 copies. But today, it's a collector's item (!). Here it is, opening with the wah-wah pedal that saved the day (and that I bought out of curiosity and only used a handful of times).
I don't just buy stuff any more. I limit my interest to things likely to be of use to me. But I had a lot of fun and learned an incredible amount, especially what not to buy again
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