MusicRadar Verdict
The 424 Gain Stage is a somewhat different take on a dirt pedal, and probably not designed for chasing what we generally think of as traditional guitar/amp tone. But it offers an alternative set of flavours and textures and is especially useful for anyone who records DI guitar. More colours in that paintbox is no bad thing.
Pros
- +
Range of sounds that you don’t get from mainstream dirt pedals.
- +
Compact size.
- +
Solid build quality.
- +
XLR output.
Cons
- -
It’s fairly niche – the harsher clipping sounds won’t suit every player.
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What is it?
Those of us who used a Portastudio multi-tracker back in the day might have thought we’d heard the last of it…
But now JHS Pedals has released the 424 Gain Stage, a new preamp/overdrive/distortion pedal that replicates a Tascam 424 MkI Portastudio’s signal path using its original op-amps.
The pedal is said to have been largely driven by artists such as US guitarist/producer Michael Todd Gordon – better known as Mk.gee – who employs a Tascam at the core of his rig. This musician was also name-checked by Eric Clapton, who said “[Mk.gee] has found things to do on the guitar that are like nobody else”.
Specs
- PRICE: $249 | £249 | €289
- ORIGIN: USA
- TYPE: Multi-gain stage preamp pedal
- FEATURES: Buffered bypass,
- CONTROLS: Volume, Gain 1, Gain 2, Bass, Treble, Ground Lift switch, Bypass footswitch
- CONNECTIONS: Standard input, standard output, XLR output
- POWER: 9V DC adaptor (not supplied), 50mA
- DIMENSIONS: 66 (w) x 124 (d) x 55mm (h)
- CONTACT: JHS Pedals
Usability and sounds
Gain 1 sets how much preamplification is added to the signal and is the equivalent of the Trim knob on the input of a 424. The original’s channel fader, providing a second gain stage, is represented by the Gain 2 knob. The signal can be tweaked by Bass and Treble knobs, and exits the pedal via a Volume knob, which equates to a Portastudio’s master fader.
It starts out delivering some clean but warm sounds, and when you experiment with various juxtapositions of the gain knobs you can start to add in grainy lo-fi grit until the whole sound is suffused with it. This can lead to some gnarly clipping distortions commensurate with pushing circuitry to its limits. Turned up full, it’s like a particularly snarky fuzz.
All of this is delivered with a degree of expressive dynamics that can see a cleanish sound transition into distortion with harder picking.
Verdict
Verdict: ★★★★½
Useful for flexibility, the 424 Gain Stagel has an output to an amp but also an XLR DI output that can be connected to a mixing desk or audio interface. The basic sound is arrived at via two gain knobs.
The 424 Gain Stage probably exists due to the success of Mk.gee, and anyone wanting to cop some of that flavour will find the pedal useful
Into an amp there’s plenty of output to use the pedal as a conventional boost with tonal options. And there’s a whole area of dirt to be explored by blending your amp sound with the 424’s dirtier tones.
The 424 Gain stage probably exists due to the success of Mk.gee, and anyone wanting to cop some of that flavour will find the pedal useful.
MusicRadar verdict: It’s a somewhat different take on a dirt pedal, and probably not designed for chasing what we generally think of as traditional guitar/amp tone. But it offers an alternative set of flavours and textures and is especially useful for anyone who records DI guitar. More colours in that paintbox is no bad thing.
Hands-on videos
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- This article first appeared in Guitarist. Subscribe and save.
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