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Following on from the Analog Drive I have had a number of Multi-Drives in and around my pedal-chain - including the fantastic BYOC Crown Jewel Multidrive and Empress Multidrive - both excellent pedals, but lacking in some features (presets in particular) to make them properly useful in an extended live playback scenario.
And so with the OD-200 I made my usual mis-step in starting the process by trying to exactly replicate some of my favourite drive pedals - which include the following selection in sort of 12 Degrees of Saturation order:
With any drive pedal there is a considerable vocabulary that can be applied to describe those key tonal characteristics and timbres you are hearing, with several other more subtle differentiators involved too:
It has to be said that the OD-200 has a lot of different voices differently applied, while there are some fairly distinct characteristics in the core default tonal profile that seem to be pretty constantly there. This includes a slight hardness to the overall timbre of the drives and distortions on the basis of soft versus hard clipping effect equivalency. I am also aware of a very slight hint of darkness in most of the profiles. This is particularly evident when dialling in Low and Middle frequencies - which for instance when compared to my Basic Audio Tri/Ram when you ramp up the equivalent Fat / Lows knob you get more bass / low-end for sure, but it applies a harder texture with it and more density on the OD-200, while the Bass on the Tri/Ram is somewhat softer and more open, which makes the Tri/Ram sound somewhat warmer too.
With my initial foray into head-to-head comparisons I found I could get pretty close to most of those I tried bar the Dumble-Style drive - which is a really elegant fuzz-edged drive/distortion or fuzzy-drive even as I like to call it. Yet I tried here to apply the FUZZ voicing to a tiny degree combined with the OVERDRIVE Boost, and then vice-versa - but the character and taper of the Big-Muff style FUZZ just isn't sufficiently nuanced for creating those subtle Dumble-Style tones - so that was the only significant failing / omission really. In fact the Big Muff style FUZZ voicing itself was the first one I really bonded with, and I was able to get really excellent Triangle and Ram's Head style flavours really very quickly and easily. In direct head-to-head comparisons with the Basic Audi Tri/Ram there was a marked difference in the Low and Middle frequencies - yet the OD-200 still sounded pretty stellar with its own voicing. I feel this is a really great Muff-style voicing where you can easily dial in Triangle, Ram's Head and even Green Russian style varieties - and when combining with the different boosts - almost anything is possible here - bearing in mind though that the OD-200 does have its own distinct distortion character.
So the FUZZ voicing was the first big success for me, and then I found I could also pretty easily dial in some Stellar OVERDRIVE, BLUES, SCREAM, CNTR OD and DIST voicings. The 'X' drive variants actually took me some time to get used to - even though I have a DS-1X pedal myself - there is a touch of an unusual feel to that which takes some getting used to - as you don't get the typical saturation bloom you get with conventional analog pedals so it does not initially react exactly how you're used to. I feel that it will take me a while to get to grips properly with the X-DRIVE, X-DIST and X-METAL modes - even though the last mentioned was actually the easiest to dial in of those - but generally from X-DIST through to X-METAL I preferred to apply those in conjunction with a BOOST - as we will cover in the next part below.
I might also question the omission of certain drive types versus some of these chosen - for instance I think a RAT voicing would have been another great flavour here possibly in place of the FAT DIST. But overall this is a really cleverly set up and calibrated pedal with some minor flaws for sure - which I will detail in the third chapter below. Overall though I'm actually really impressed with the OD-200 - with the Interest Curve veering from excitement and wonder to bemusement and surprise and then a quiet glow of satisfaction at the end. I did not find all the voicings necessarily wholly useful for me or even entirely to my liking - but there is so much here, and on pretty much every voicing you can dial in something interesting at the very least - albeit you need to be careful with differences in DRIVE/Gain taper and LEVEL/Volume unity when switching between modes.
So this pedal is best aimed at players like me - who have a wealth of experience with drive tones and largely know how things work and what they like. Obviously experimental players will have a whale of a time with this - discovering new varieties of combinations. So modern, progressive, open-minded players should love most of what is on offer here, while this is not one to covert all the traditionalists and doubters. I was marginally surprised by the tonal quality of the pedal - in that in sound and feel you would really not discern in as being DSP - beyond those 3 specific MDP modes where the playback feel is somewhat changed.
I would most definitely recommend this pedal - it is probably the best DSP derived drive pedal I've encountered - and in 99.9% of experiences you will not discern any audible digital processing in the signal. It is hugely versatile and has so many great flavours to love here - this is definitely a long-termer for me, while I've yet to decide for which main voicings I will mostly be using this - at the moment I find myself playing a lot of the OVERDRIVE, BLUES, CNTR OD, DIST and FUZZ modes - I have really excellent tones dialled in on each of them - even though for each of those I have preferred analog pedal voicings already in my chain - so it will be interesting to see how this all shapes up, and where I will end up a few months further in the future. If you go in with an open mind you cannot fail to be impressed!
The Collision Drive is a modern, cutting-edge overdrive pedal. Tailored towards high-gain metal players looking to tighten up their sound, the Precision Drive is built specifically to be used in conjunction with super-hot amplifiers and digital modellers.
With roots on the Ibanez Tube Screamer as a starting point, the people of Horizon devices took care of modifying this all-time classic in order to make it perfect for the needs of the modern metal player and the extended range guitarist.
The Attack control manipulates the response of the pedal, increasing the Attack will give a more immediate punch, suited for fast palm-muted chords. For extended range 7 or 8 stringed guitars, this is a key addition.
Never worry about fighting your tone or your gear again with the Precision Drive, the first modern overdrive made by guitar players for guitar players. The Precision Drive can take any set-up, both tube and digital, and turn it into the perfect modern metal rig with its precise tonal carving controls.
The Precision Drive is the Overdrive pedal I always wanted and that I was kind of shocked no one had made. Given how many rock and metal musicians use ODs to boost and tighten their amps, I would have thought there might be a solution aimed at that crowd, but there just wasn't. So I figured I might as well bring that pedal to life, if anything, just so I could have it for myself!
This Precision Drive is awesome! I struggled with getting note definition on a lot of my other drive pedals. It all just sounded muddy... but the attack knob really helps notes cut through. The gate feature is really useful too for cleaning up gainy parts but also I find that this pedal interacts with my ac30 amp in a really cool way to produce really cool feedback. And on top of it all it makes an excellent clean boost!
There are so many great overdrives available today. Some excel at pushing your amp into lead territory, while others work better at tightening and focusing your already driven amp. I have yet to find a single OD that is able to achieve both of these approaches as effortlessly as the Precision Drive. Between the Attack and Bright switch, you have enough control to shape the front end of anything you put it in front of. I use mine to tighten and focus my rhythm/riff sounds and it does exactly what I ask of it. I'm a big fan.
The JDX Direct-Drive is a unique and powerful device that emulates the sound of a guitar amplifier while doubling as a direct box, providing a realistic amp sound that allows you to play a gig without needing an amp on stage.
Connect your pedals to the Direct-Drive and enjoy the natural tone of a guitar amp using the PA system or monitors instead of an amp. Select between three voice settings to find the one that works best.
"The JDX Direct-Drive does a great job... I love its all-analog simplicity and it's been easy to travel to rehearsals with nothing but my guitar and pedalboard, with the JDX Direct-Drive comfortably mounted next to the rest of my pedals."
The Texas-Pro is a true-bypass, dual-function pedal that features a versatile overdrive circuit capable of vintage, modern, and high-gain overdrive tones, along with a class-A power booster with a built-in effects loop.
Maybe our friends in the action-flick industry can help. Both overdrive and distortion add varying degrees of a beautifully aggro sound to guitars. Those gradations that tell the tonal tale. So, if you ever followed the Lethal Weapon series, overdrive would be Murtaugh, and Riggs would be distortion.
Or turn the drive all the way down, and dime the tone knob to get a treble-booster-like effect. Then route the output of the overdrive into a maxed-out distortion pedal. That tone might even be scary enough to keep your drummer from checking his cellphone during rehearsal.
Michael was the longest-serving editor-in-chief of Guitar Player. Currently, he runs the Guardians of Guitar website, creates content for guitar-gear manufacturers, and was Content Director for Modern Drummer magazine.
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