JHS Angry Charlie V3

Original FSB thread available here.

JHS Twin Twelve V1

From the source:

The JHS Twin Twelve is the first effects pedal to go after the sound of the short-lived but revered Silvertone 1484 Twin Twelve. Available through the Sears catalog from 1963 - 1967, the Twin Twelve was not regarded in its day as a premier amplifier. However, modern players looking for a vintage sound have increasingly turned towards this Silvertone as a primary stage and recording amp. Artists such as Beck, Death Cab For Cutie, Vampire Weekend, The White Stripes and even Coldplay have used the Twin Twelve amp on stage, making it the vintage amp with the most indie-cred. With the market for original specimens drying up and prices increasing, JHS has come to the rescue by putting that sound in an easy-to-use pedal.

 The original was a 60 watt, all-tube head with a separate 2x12 cabinet. At the heart of its sound was a Baxandall tone circuit, powered by a pre-amp the broke up in a way that few other amps do. It wasn't as glassy or snappy as a Fender Tweed, or as treble-rich as a Vox from that period. Rather than going into harmonic crunch like a dimed Marshall, the Silvertone 1484 would get borderline fuzzy, with a very saturated and thick natural overdrive. Its satisfying clean-ish grit and woolly overdrive have become a defining sound in modern indie rock.

Part of the magic is in the charge pump, which ramps up the standard 9V power it takes to 18V, giving the Twin Twelve pedal even more headroom and punch. The Twin Twelve then uses a series of discrete transistors that mimic the valve stages of the original Silvertone. Bass and treble controls remain true to the ratios of the original amp, while separate Gain and master Volume knobs help you achieve the thick, high-gain saturation at low volumes that was only possible by diming the amp back in the '60s.  

Madbean Turnabout (JHS Andy Timmons)

Brian's take on JHS Andy Timmons pedal.
This is not an exact clone of the original circuit and the video is for reference only:

JHS Little Black Buffer

Traced from gutshots on the blog forum posted by hahafender, thanks for the pics buddy :o).  Some of the traces on the unused side of the opamp weren't visible but the left hand side is a generic opamp buffer and that's the important bit.  I think the resistors used on the other side we're just used as suggested by the IC manufacturers to do to unused channels.  Not sure why he didn't just use a TL071 and so not require the 2 additional resistors, but I suppose that does make it at least appear further removed from the common opamp circuit that we've seen lots of times before.

Info about the original:
This may be the greatest weapon you didn’t know you needed.

For those of us who are a little “pedal happy” there can be some downfall to our tone. When running a pedal board with more than one or two effects, something called “capacitance” happens. This natural problem happens due to the amount of cable or line that your signal has to travel through, not to mention bad switching systems in certain pedals. The result is a very audible amount of high-end loss, weak signal, flabby bass and uncharacteristic pickup behavior in guitars. Another problem is the assumption that all “true bypass” is good. This isn’t true and actually can be worse than imagined.

This is where the “Little Black Buffer” steps in providing the perfect input impedance to your rig and giving you the final result of clear, natural tone that sounds like you're plugged straight into your amp no matter how many pedals you use.

JHS Morning Glory

Modded Blues Breaker.. Personally i have pretty high hopes for the circuit...
 
There’s a lot of hype out there these days with overdrive pedals and the last thing we want to do is to add to the noise.
As you may already know, almost every boutique overdrive on the market is a modified Tubescreamer of some sort; we have decided to take a different approach.
The Morning Glory is a very transparent tone-shaping tool that is the result of several years of building, gigging, tweaking and improving on the original Marshal Bluesbreaker design. We improved vastly on the BB while maintaining what made it a great pedal in the first place. It now has around 4X more headroom, 2X the available gain, and a more useful tone control. The “Bright Cut” toggle allows the perfect level of EQ for your rig.
You will notice immediately how touch sensitive and dynamic the feel of this pedal is. The frequencies are perfectly balanced and the tone knob reacts as a high frequency roll off. The drive allows you a huge range of tones from “little wing-ish” chime to classic rock era bite. If you’re a Strat player, this pedal will bring you sounds that you may have thought impossible. If you like the Les Paul, get ready to discover a new pallet of sounds that you won’t be able to live without.
With enough clean headroom to be used as a boost as well as a hefty amount of drive, this may be your go-to pedal for good.

Escobedo Duende JFET = JHS MiniBomb

The circuit for these two are verbatim. Escobedo just has a trimmer to bias the JFET, where JHS has 5K1 resistor. He probably uses matched j201s...

JHS info:

A good booster is often the most underrated tool a guitarist can own. When placed before your overdrives or distortions, a thicker, stronger and more saturated tone can be achieved. When placed after, you get your exact same tone except louder. This is great for lead passages and for causing a tube amp to naturally overdrive due to its huge amount of headroom. You will notice a slight touch of presence that lets your tone cut through the mix for those passes that you really want to stand out. Chords are heard with clarity and subtle harmonics shine! The Mini-Bomb JFET boost can do all this and only takes up a small 1.5"x3.5” spot on your pedal board!
Oh yea, and did we mention....this pedal works great on both electric guitar and bass guitar!!!

Here's Geiri's demo of his two boards in series in one A-box: