SKU: 67314610617
jr barnyard pedal

jr barnyard pedal JR BARNYARD® EH-150 /185 octal tube style Preamp – The Nocturne Brain

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Description

jr barnyard pedal JR BARNYARD® EH-150 /185 octal tube style Preamp – The Nocturne BrainThe JR BARNYARD (( color: Cola these ship June 30) Pre War Hot Preamp ( 1930's 40s octal tube amp character pedal). Inspired by my Moonshine'39 amp a repro of the 1939 Gibson EH 150 185 pre war tweed amp and its octal tubes. I've created a textured hot club style preamp to garner those early Charlie Christian flutey reedy amp tones to Texas Playboys Junior Barnard and Eldon Shamblin dirty octal tube swingin texas blues. More or less designed to

The  JR BARNYARD® (( color: Cola these ship June 30)
Pre-War Hot Preamp ( 1930's-40s octal tube amp character pedal). Inspired by my Moonshine'39 amp a repro of the 1939 Gibson EH-150 /185 pre war tweed amp and its octal tubes. I've created a textured hot club style preamp to garner those early Charlie Christian flutey reedy amp tones to Texas Playboys Junior Barnard and Eldon Shamblin dirty octal tube swingin texas blues. More or less designed to emulate the preamp circuit of the Gibson EH-150 / EH-185.

Looks like we've got more than just jazz and blues guitarists using this lil amp in a box character pedal, now. Blues Harp players. acoustic, country, alt rock and steel guitarists, as well as bassists and keyboard players are plugging into the Jr. Barnyard hot pre amp!

Standard model (single stomp), a new single stomp version w a blend control between the normal and mic channel plus a smaller compact size!! Much more versatile to boot!

With so many players gravitating toward easily mobilized rigs, be they compact nice solid state amps like Quilter, Milkman,etc or direct to house units (FRFR) like the Strymon Iridium, helix stomp,etc w IR (impulse response) tech.. the player can feel removed from the tactile response they've grown accustom to w a tube amp's dynamic interaction and interplay between clean and "edge-of-breakup" w the guitarists fingers and speaker. Even more so with roots musicians who crave that tweed response, or even further back with octal tube amps reedy bark.   

I've come up with touch sensitive solution with both my Jr Barnyard Hot Preamp and its flagship the El Pescadoro, that adds a pre-fender, Chess records era dual channel reverb that brings chamber and plate reverbs from that late 40s-50s era of reverberation. you can read more about it on my website here: https://www.thenocturnebrain.com/collections/pedals/products/el-pescadoro-reverberant-hot-preamp

the ultimate jazz, jump blues & western swing pedal. some are using it for honky, surf and shoe-gaze. :) 


(handwired original version is also avail as an upgrade option, choose from dropdown window)

Some folks call this a vintage Octal Tube Amp in a box as you can pull off the classic 30s Gibson octal tube sound from most any amp or even straight to a PA system (assuming you have a decent soundman). It aims at giving you the texture and dynamics you hear and feel from that pre world war II era gibby ES150-185 amps. (if you want a full on replication of an actual tit for tat octal tube amp, I make the Moonshine'39 octal tube amp based on my vintage EH-185 amp built late in 1939 which literally has the EH-150 stamp on it still.)

https://www.thenocturnebrain.com/products/moonshine39-combo

the basic sound easily dialed in from this class A discreet preamp is that punchy honky almost reedy/flutey (no more eee's pleeeze) late 30's and 40s swing sound, like Oscar Moore, CHarlie Christian, and (contemporary) Whit Smith are found here. ..or crank it up for full on chess era wooly 50s chicago rhythm and blues. (be sure to check out the EL Pescadoro if you want that leonard chess studio chamber/plate verb added: 

https://www.thenocturnebrain.com/products/el-pescadoro-reverberant-hot-preamp

This Transistor (BJT not FET, edit) based preamp uses a mix of imported Soviet germanium & Fairchild silicon diodes at its core with other sexy components like NOS Mial Caps, NOS Cornell Dublier & Mullard and/or Wima film caps, (NOTE:handwired version uses pcb through hole components, standard version uses mini component SMD circuitboards) Switchcraft jacks and hand wired leads from the circuit board like a vintage american amplifier. This preamp was made to give your instrument and amp the character response of hot octal tubes and field coil type amplifiers of the 40s into the 50s. Think Chicago Chess and Checker label recordings as well as Memphis Stax recorded amps.


I've had players asking for a *junior barnard & *charlie christian type of "warm cook'n" preamp that will keep the transparency of the instrument intact and work w a variety of backline tube amps.. so thats what I ended up with here with this preamp.

It has a Body depth switch (deep & Flat) and Bright switch for a variety of guitars, mandos,ukes, banjos,dreadnaughts..it just flat out brings you into the front of mix with reedy vintage warmth and definition like you hear when the musicians of the *Texas Playboys were asked to floor it w/ a solo by ol' *Bob Wills. I'll even go so far to say it will help Gypsy Jazz players comp that snarly Django amplified tone.
  I added a second channel that blends in the hotter mic channel of the EH185 to it so I could dial in more texture and finger tone for my vintage style big bobbin single coil guitars. (thats the stomp switch on the left) too boot! I want that Fatboy Rag kinda low down n dirty sound from my guitars that I can click on and off at will from the fairly clean tube amps I perform with.
This pedal is True bypass of course, powered by a standard *boss style 9V DC adaptor (no power supply adapter included, requires audio quality 9v DC power supply ONLY!! ) 

Non-USA players note: if you are in EU/ UK, 230v mains want to see the Boss PSU230 9v DC power supply.


vid demos

(this link shares the control features of the V2 Jr Barnyard)

https://www.facebook.com/100005950302191/videos/1768128690062124/

 

FWIW regarding control set up:

I keep it in bass mode for the guitar honestly, as it makes it more authentic "wooly" in the low end, and I keep the switch flipped up as that cuts some of the presence but adds another gain stage in that frequency. W the volume at 11 oclock to 1 oclock w the blend control around 10 oclock, thats pretty much heaven for me.

This is what the controls are all doing:

left switch is a presence cut, right switch is bass or guitar mode. Left knob is volume, right knob is a blend knob between two channels. all the way to the left is the clean/normal channel and all the way to the right is the hot/mic channel. At about 11 oclock the hot channel begins to blend into the clean channel.

 

 JR BARNYARD® trademark serial number 90540584 - 6612906

These are built per order, no returns. 1 year warranty on all parts and labor, shipping not included, no power supply included

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SKU: 67314610617

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4.7 ★★★★★
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KEITH
Grantham, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
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Parker
New York, US
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011
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Clare Quilty
Carnegie, US
★★★★★ 5
A stark, brutish "Petulia" with a pistol in its pocket
It's about time this movie got released on DVD. It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank." The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released? It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex. This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film). I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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Reviewed in the United States on August 1, 2005
J
Verified Purchase
Joe Movie
Fort Morgan, US
★★★★★ 4
One of Marvins better offerings
Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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Reviewed in the United States on May 20, 2010
P
Verified Purchase
Patrick Selitrenny
Grantham, US
★★★★★ 5
A forerunner to Dirty Harry and Lee Marvin shining...
If you liked "The Getaway" or "Dirty Harry", then meet their forerunner. "Point Blank" is explosive, fast-paced, and still the acting is there. Good acting that is. Lee Marvin is at his best. Angie Dickinson. in her strong performance, is as beautiful as ever. Keenan Wynn and Carroll O'Connor play their parts to the hilt and it truly shows. John Vernon (who was The Mayor in "Dirty Harry") plays a slimy type with diligence and very believable. Add the killing pace of the entire picture, and you have a hot item, as sharp and cutting as "Film Noir" can be. Yes, because this is still a "Film Noir", despite the fact that it was filmed in Color and in the mid-sixties. John Boorman ("Hell in the Pacific", "Deliverance" and "The Emerald Forest"), skillfully "color coded" the entire movie, bringing it from absolute colors at the beginning, to more red-tinted ones towards the end. The only difference from a true "Film Noir" is its fast-paced storyline, that would lead us to movies as I have mentioned above. Marvin's minimalistic acting, but forceful presence, is enough to fill every frame of the movie with tension, action and complete mayhem. Compare him in "The Dirty Dozen" and "The Big Red One" and you will see what I mean. A big plus was the release on DVD. An excellent transfer with a sharp picture resolution, a clearcut sound, make it a very enticing experience to watch it at home. This is not just a Highly Recommended title. It is simply a Must!
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Reviewed in the United States on April 20, 2007

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