In this approach, a simple amplifier circuit amplifies the guitar's signal and pushes it across a pair of clipping diodes. The heart of the RAT's tone comes from a design technique called symmetrical hard clipping. Like you, JHS want to believe in magic models of their favourite pedals, but sometimes the magic is just because we like the look or the user experience of one version over the other. In many ways it widens what many consider the sweet spot for the most beloved RAT tones. With this said, why would JHS put this particular version in their PackRat if it is not any different than the OG? For one, nostalgia is a powerful thing, and secondly, this mode will switch to the reverse orientation V2-V3 Filter control with an entirely different feel and experience. ![]() ProCo knew that the world wanted smaller pedals in the wake of brands like BOSS, DOD and Ibanez gaining more and more market share, and they wisely cashed in on the trend. The White Face V3 update was a purely cosmetic change due to screen printing errors that needed to be solved. The irony is that it is the same exact circuit as the previous Big Box V2 and the following Black Face 1986, as well as the 1989 RAT2. This White Face model has gained a reputation as one of the holy grail RATs, and it even spawned a reissue in the nineties. In 1986, this same model had a logo change that simply inverted the white and black colours, resulting in the more familiar white rectangle outline and font on the black enclosure. The word RAT was in all black caps inside the white rectangle this model gained the White Face RAT nickname due to this aesthetic. In 1984, the RAT transitioned into a smaller square enclosure with a new white rectangle logo. Basically, Josh would consider the Bud Box RAT to be a V1, because it is almost identical other than having an input buffer as well as a couple of extra parts. JHS know that the super nerds are going to ask why they didn't include a Bud Box mode. Let us take a moment here to clarify: the V1 and V2 models are the exact same circuit, and simple adjustments to the Tone/Filter control can achieve identical sounds from each unit. When switching to the OG mode, you are activating the exact circuitry of my 1979 V1 Fringe Logo model, including the accurate Tone control rotation and taper. From a circuitry standpoint, the V1 and V2 Big Box models are practically identical except that the V1's Tone control increases treble as you turn clockwise while the V2's Filter control decreases treble in that direction. The V1 also has small silver capped knobs and a Tone knob instead of the more familiar and later produced V2 Filter control labelling. This era of roughly four years covers what is referred to historically as the V1 models.Įarly V1s are also known as the Fringe Logo model and can be identified by the letters R-A-T being in all capital letters with a slight fringe graphic coming from the typeface. The OG mode is a perfect recreation of the first production RATs ever made. When you put it that way, this pedal sounds pretty reasonable. If you purchased these nine hard-to-find pedals on the used market right now, you would pay around £4,000. This means that when you choose one of the nine legendary or rare modes, you are playing fully analog circuits that perfectly replicate that mode, even down to the aging components (also known as component drift). Artists from every genre have used the iconic tones in this unassuming black box to create their sounds, including Nirvana, John Scofield, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck and Radiohead.īuilding on JHS' Multi-Mode pedal series that includes the Muffuletta and Bonsai, the PackRat uses the same unique digital runway system to direct the paths of 261 components through 40 individual switches. The PackRat is the ultimate tribute to the 40+ years of rodent evolution and its impact on the guitar's sound. ![]() By 1979 Scott had perfected the circuit in his RAT-infested basement workshop, and the rest is history. They wanted a pedal that could go from overdrive to distortion and then all the way to fuzz. They wanted something that didn't exist in the mainstream product lines like MXR, DOD and BOSS. Scott Burnham and Steve Kiraly first had the idea after playing, repairing and modifying all the available distortion pedals on the market. ![]() In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI: the Proco RAT.
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