Which overdrive to choose
as its main ?

The range's British low-gain base: warm, supple, lively.

The 45 Overdrive is the natural entry point if you're looking for a warm, uncompressed main sound, highly sensitive to playback. It's reminiscent of early Marshalls with just the right amount of thrust: more an edge of breakup than a real heavy crunch.

With its controls Volume, Gain, Bass and Treble, It is easy to adjust to different amplifiers. True bypass. Compact 125B case. Not the right choice if you immediately want a dense, muscular crunch underfoot.

The brighter, more open and more harmonic version of the main low-gain sound.

If the 45 is warm and round, the Liverpool is brighter, airier and more lilting at the top end of the spectrum. It's the one to choose when you want a base that breathes more, with a more obvious Class-A feel.

Works very well in always-on or stacking mode. Controls: Volume, Gain, Tone. True bypass. Not the best candidate if you're looking for a thick, dark main sound, or one with a strong low-midrange focus.

An expressive preamp before being a classic overdrive.

The Gladiator should not be seen as just another low-gain variant of the others. Inspired by Steel String Singer architectures, it is primarily used to structure the signal, add body, articulation and a high-end response feel.

Its Clean control lets you mix clear and saturated signals, and its Compression switch adjusts the response. Controls: Gain, Tone, Volume + internal Bass adjustment. True bypass. Not the best choice if you're looking for obvious saturation and a really big main crunch.

The real Plexi-type main crunch: immediate, lively, rocking.

British Drive is one of the most straightforward answers if you already know you want a crunchy, amp-like, classic rock-focused main sound. Its grain remains open, edgy and rich in the midrange, with that unmistakable Plexiglas feel.

OD/Fuzz selector allows you to move towards a thicker, rougher texture without changing your sound family. Big/Tight selector (active in fuzz mode) + 3-position Bass selector. Controls: Volume, Gain, Tone. True bypass. Avoid if you're looking for a wise base or discreet low-gain.

The extra notch if the British Drive seems too conservative.

Erebor remains in the Marshall family, but with more density, more bite and a more hard rock register. Its asymmetrical clipping gives it a lively, irregular grain, rougher than a smooth overdrive.

Simple controls: Volume, Gain, Tone. Dynamic response, good chord legibility even at high gain. True bypass. A straightforward option in the range. Less suitable if your priority is subtle low gain or bright, open sound.

The most “distorted” candidate of the selection, with a real usable range.

The 1987 differs from amp-in-a-boxes in that it is based on a more straightforward logic. distortion pedal, This is a Rat-type circuit, but with more progressiveness and control than is often expected from this family.

The CUT control plays a central role: it precisely adjusts the treble response, allowing you to move from a dark, compact sound to an open, biting distortion. Buffered bypass for stable integration in large signal chains. Not the best choice if you're primarily looking for the feel of a very natural low-gain amp.

The most versatile if you want a single pedal to hold the main position.

The Dirty Shire covers a wide spectrum, from vintage crunch to firmer, more defined saturation, with no break in character. It's probably the most obvious if you want to a single pedal that can do a lot without losing its coherence.

At low gain, it remains warm and organic; on the way up, the bass holds together better, the attack becomes more forthright, in the spirit of the modern Friedman. Active 3-band equalization, Presence, Tight, internal trimmer for overall gain. True bypass. Less relevant if you're looking for a very simple or ultra-specialized typeface.

The direct choice if your main sound is modern high-gain.

The Silver Monster MKII is the most naturally high-gain-oriented offering in the range. Inspired by the Soldano SLO-100 architecture, it functions as a true saturation preamp, dense but legible.

Sound Low/High Gain selector offers two distinct structures: the low mode remains articulate, the high mode moves towards massive but sustained saturation. 3-band equalization, Presence, Deep switch. True bypass. This is obviously not the right way in if you're aiming for the edge of breakup or light crunch.

The most responsive and responsive choice in the entire selection.

The T-Express occupies a unique place in the range: it's the only pedal inspired by the legendary Trainwreck Express. It delivers high gain with low immediate response to attack here, the sensation of speed and nerve is almost as much a part of the sound as the equalization.

Four voicing switches (BRITE, VOICE, PRESENCE, CAB) allow precise response shaping. Controls: Gain, Volume, Hi-Cut. True bypass. Avoid if you're looking for a simple, immediate pedal that's not very sensitive to variations in play.