Now out of production (replaced by the Deluxe version), this was one of the most popular pedals in this category. It sounds fat and warm with a nice vintage sounding low end that’s not really tight but still has plenty of definition. In fact That Pedal Show and Brett Kingman kind of jointly introduced me to and persuaded me to get my first Bogner - the Burnley Distortion - I believe I acquired that at a very similar time to my original variety of Suhr Riot. I decided to go for the Bubinga enclosure edition as I felt it was such a fantastic visual representation of its organic harmonic and resonant tonal profile (which somehow called to mind the natural resonance of wood!) - no doubt helped in some significant part by the onboard Rupert Neve Transformer.

A tweakable, hand-made overdrive with a foot-switchable boost whose gain can be controlled through a separate knob. A 3-way Tight toggle delivers fatter or more defined tones. In the up position, the drive will sound bright and defined and get fatter when the boost is on. The Mids toggle interacts with the Mids knob to deliver humped, scooped, or flat mids. The Pro version adds presets, a knob for Mids, a 3-way Presence switch, and Exp In. I can go on and on but the best way to really appreciate what this pedal can do is by hearing it in action for yourself:A two-channel Plexi pedal with a clean boost on one side and a Marshall JTM45 emulation on the other, using transistors to mimic the character of the tubes. Each channel features its own footswitch, and a toggle switch lets you place the boost before or after the overdrive. A tone knob, placed in the overdrive circuit, lets you tweak the signal EQ to your liking. The Golden Boy became my Blues Breaker of choice this year - essentially a circuit update to the Broken Arrow Overdrive - with all that functionality and Clipping and Boost EQ options in place. In fact the Broken Arrow Tube Screamer style circuit was simply swapped for a warmer Blues Breaker equivalent - while all the other essential elements of the Broken Arrow remain largely in place. Employs hand-selected discrete JFETs to create a unique blend of Plexi and Marshall-style tones, based on the Marshall 1987 Silver Jubilee amp. Therefore, strictly speaking, JCM amps don’t belong to the Plexi family, but since their circuits are very similar we decided to include them in this article

It's really hard to emphasize just how many tones the La Grange is able to pull off. Sure, it can pull off ZZ Top-style overdrive that its name suggests but that's just the very tip of what this pedal can do. AC/DC, Led Zeppelin, Van Halen, The Who, Jimi Hendrix -- if they used Marshall Plexi, you can more than likely dial in that tone.A handmade pedal that uses the same circuit schematic (3-band EQ included) that you will find in the most famous British Amps from the 60’s, using transistors instead of vacuum tubes. V3 adds a three-voicing toggle switch and a I/II footswitch with a 6db boost difference, emulating the behavior of the classic JCM. A toggle named #34 activates a modded tone dear to Guns’n’Roses’ guitarist Slash. This cookie stores user-like settings for the chat system provider, which are required for our online chat service. Trusted Shops The toggle switches on the top end of the pedal further push what's possible with the La Grange. For example, you can use the Variac switch for extra dynamic compression and enriched harmonics that give off a very EVH-style 'brown sound', or use the Presence and Structure switches to further fine tune the response of the pedal's sound. Used together, they offer a huge range of tones that should make nearly every kind of Marshall amp fan happy.

Next, we have the Volume, Tone, and (all the way to the right) Gain knobs, which all work as you would expect. But in between the Tone and Gain, the La Grange features a unique Channel Blend knob, which is where we begin to see the true versatility of the pedal. Essentially, this knob works as a mix control that simulates the two channels of a 4 input 67-69 Plexi; turn all the way to the left for the brighter, boosted "T" channel, all the way to the right for the more subdued "B" channel, or any combination in between. Better yet, leave it a 50/50 for an equal mix of both, not unlike using a jumper cable on a real Plexi (a common technique used to link both channels). I'm a fan of Lawrence Petross Design pedal - while I only have a price so far - including the earlier Eighty7 forerunner. I still intend to get at least the Seventy4, possibly even the Sixty8 too - all the compact edition ones.

CONS:

This is your ultimate guide to get the pedal that’s just right for you. We’ll take a look at the best guitar effects on the market that give you the Marshall sound at a fraction of the price (and at more manageable volumes). This offers a sufficiently differentiated feature set to the BE-OD Deluxe to be a viable solution for many - it is a fairly large pedal though - as is he Friedman equivalent. That has individual Presence controls (mini) and Tightness toggle-switches, while the LPD variant has 2 modes per channel, and additional internal bright switch per channel.