This pedal gives you that exact texture without hauling round a vintage recorder. It faithfully recreates the 424 MKI circuit using the original UPC4570 and NJM4565 op-amps and the same control layout, so the quirks that made the originals sing are all here: two gain stages, master volume and simple tone shaping that respond like the real thing.
Use the 424 as a Direct Input to capture gooey, saturated colour straight into your interface or mixer via the balanced XLR output. If you prefer playing through an amp, the pedal stacks superbly in front of tube and solid-state heads, acting as a unique gain stage, overdrive or full-on broken fuzz depending on how far you push the two gain controls. The buffered bypass and soft-touch switching keep the pedal stage-friendly and low-noise, while the Ground Lift switch helps eliminate hum when using the XLR output in studio or live environments.
Beyond faithful recreation, the pedal is purpose-built for modern rigs. The 1/4" output and XLR DI can be used simultaneously, letting you split to amp and desk at once. Small enough to live on a pedalboard or on your desk, it runs from a 9V DC centre-negative supply and draws 50mA.
In short, the JHS 424 Gain Stage gives you the authentic tape recorder tone in a pedal: from tight, elastic cleans to crunchy channel saturation and gloriously broken fuzz, with DI and amp-ready outputs for both studio and stage use.
The JHS 424 Gain Stage captures the elastic, lo-fi charm of plugging a guitar straight into a portable tape recorder, now in a compact pedal. If you're looking that Mk.Gee vibe or tones heard on records by Mac DeMarco, Radiohead, Steve Lacy, Omar Apollo and newer artists like D4vd, this is your all-in-one shortcut. Expect rubbery cleans, high headroom and smashed-out fuzz that have reappeared in bedroom pop and indie records.