Dunlop JHM S1 vs Sola Sound Tone Bender Professional MKII

The Dunlop JHM S1 and the Sola Sound Tone Bender Professional MKII are both pedals sharing fuzzy. The Dunlop JHM S1 leans bright and dynamic. The Sola Sound Tone Bender Professional MKII leans sustaining and mid-forward.

Similarity
citedBlended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.

44% — somewhat different

Shared genres
citedGenres both listings are associated with.
  • Classic Rock
Shared tone character
citedDerived from overlapping tonal signals across both listings.
  • fuzzy
Citation fame
citedCitation/mention fame — how often this gear is cited across artist rigs and gear discussion.
0%
0%
Price
—

$244.43via Reverb

Description

The Dunlop JHMS1 is part of the Authentic Hendrix '68 Shrine Series, a Fuzz Face Distortion in a mini enclosure that captures two sides of Jimi Hendrix's fuzz tone via a toggle switch. One position delivers the aggressive, cutting silicon based crunch Hendrix favored later in his career, while the other offers the warm, smooth saturation of the germanium fuzz he used in his early years. This gives players both classic Fuzz Face voices in a single compact pedal. It suits psychedelic, classic rock and blues rock players who want authentic Hendrix era Fuzz Face tones, from smooth, woolly germanium warmth to bright, biting silicon snarl, in a pedalboard friendly format.

The Sola Sound Tone Bender Professional MKII is a 1966 three-transistor germanium fuzz pedal, an upgrade over the earlier MK1.5 that added an extra gain stage for more sustain and tonal richness. Built around OC75 or OC81D germanium transistors, it produces a warm, throaty, midrange-forward fuzz with a vintage, slightly wooly character rather than a harsh, modern buzz. It is most famously associated with Jimmy Page, who used it throughout his time with the Yardbirds and into the earliest Led Zeppelin recordings, including Dazed and Confused, You Shook Me, and How Many More Times, and it was also used by Jeff Beck and Mick Ronson. Simple Level and Attack controls keep it easy to dial in. It suits players chasing authentic, vintage British fuzz character rooted in 1960s rock.

Genres
citedGenres this gear is documented as being used in.
  • Blues Rock
  • Rock
Tonal lean
  • bright
  • dynamic
  • sustaining
  • mid-forward
Good for
citedOccasions this gear suits — judged per model, or derived from its wattage, connectivity and category.
  • Busking
  • Live
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