Tone Report Weekly 194 - Page 51

pedals of this size and type having no power without the gain, and was delighted to see that not be the case here. Even this alone or with the Gain pointed at 9:00 would be more than enough for some people. Next it was time to see hwo this thing handled “the Northeast setting”, where you point all knobs to 2:00 (an old favorite for Big Muffs). Holy cats is this powerful— full, rich, roaring with classic Marshall bite. The chords and harmonics of Van Halen’s “Bottoms Up” sounded perfect as I played them with assuredly less precision than Eddie would have. The Normal setting was comfortably handling the low end, so I decided to check the high end with the Bright setting. It would perhaps be more accurate to call it the High Sensitivity setting, because it’s like the Deputy had a shot of adrenaline. The signal boosted slightly, on top of getting sharper and brighter. Diming the gain I continued to be impressed, the roar and the bite still coming through. The Deputy’s best asset was definitely volume, but I started to wonder if that would satisfy those who are looking for more gain. I was perfectly fine with it, but we’ve fallen into a trap where it’s all about saturation and clipping. The Deputy’s aims are more old-fashioned than that, though admittedly it succeeds at that aim. It’s firmly in the Plexi realm, not in the JCM or DSL realm. It can do Judas Priest, but it can’t do Slayer. Regardless, Outlaw has a large variety of gain pedals for different genres and tones, so it boils down whatever you specifically want. In the end, it’s all great. Marshall is the new sheriff in affordable distortion for players. CONCERNS None! Outlaw is doing great work and thi 0VF6W2vǐ&V6VFVBtBtRĔPf"67B6R&6FRB&6RF@F6W2W76W"VF2FR&WBFRFWWGFU&W'B6УS