fbpx

Lead Trilogy - Electric guitar pedal - JCM800, JCM900, Silver Jubilee, Lead Distortion

Category: Type: , ,

189,00

  • Graphic customization

    Upload your picture to customize your pedal

    • 0 €
    • (max file size 150 MB)

All audio clips are recorded with a Fender Deluxe Reverb amp with an extremely clean setting.

Guitars:

Fender Stratocaster (3 Fender single coil pickups)
Fender Stratocaster (2 single coil pickups at neck and middle, and a DiMarzio humbucker at bridge)
Gibson Les Paul (2 Gibson humbucker pickups)

Clean sound, no effects added


Clip 1
Guitar: Gibson Les Paul (bridge pickup)
Mode: Jubilee
Gain: 7/10
Tone: 4/10
Volume: 5/10


Clip 2
Guitar: Gibson Les Paul (bridge pickup)
Mode: 800
Gain: 5/10
Tone: 4/10
Volume: 5/10


Clip 3
Guitar: Fender Stratocaster HSS (bridge pickup)
Mode: 900
Gain: 8/10
Tone: 4/10
Volume: 5/10


Clip 4
Guitar: Fender Stratocaster HSS (bridge humbucker pickup)
Mode: 900
Gain: 6/10
Tone: 4/10
Volume: 5/10


Clip 5
Guitar: Fender Stratocaster (neck single coil pickup)
Mode: 800
Gain: 5/10
Tone: 6/10
Volume: 5/10


Clip 6
Guitar: Gibson Les Paul (neck pickup)
Mode: Jubilee
Gain: 7/10
Tone: 3/10
Volume: 5/10


Clip 7
Guitar: Gibson Les Paul (bridge pickup)
Mode: 900
Gain: 8/10
Tone: 5/10
Volume: 5/10


Lead Trilogy is a distortion pedal with a strong British flavor, it refers to the hi-gain Marshall heads produced in the 80s and 90s, a time when the guitar played a predominant role in many genres, not only in rock context. The manufacturer of these amplifiers does not fail to re-propose these heads, which have now become a cult object.

A bit of history…
The way a guitarist thinks has changed many times over the years: from the 50s when the effects had not yet been conceived we move to the era in which guitarists began to crank their amplifiers discovering the distortion. We then moved on, to reproduce the distortion with the first pedals (fuzz boxes, distortions, etc.) generating another type of sound far different from that of tube amplifiers at maximum volume, a requirement that remained very popular until 1981, year in which Jim Marshall designs the first 2 channel amp named JCM800 2210 Split Channel.
From here everything changes again as the guitarist has the chance of having the same sound as a very high volume amplifier while being able to control the real sound pressure and manage two sounds at the same time: clean and the distorted, thus labeling the trend of the 80s with this innovative head. John Norum of Europe never stopped using this amp in his arsenal.
In 1987, another Marshall amplifier is produced with the same philosophy, the Silver Jubilee 2555, with a more sparkling sound thanks to a very particular clipping circuit. Slash was an influential user during his early albums with Guns N ‘Roses.
We rush to 1990, when Marshall JCM900 4100 Hi-Gain Dual Reverb head has been introduced, made with a truly atypical construction, while maintaining the classic 2-channel layout, very similar to the aforementioned heads but with a very particular cutting tone as the distortion is generated through low voltage operational amplifiers instead of traditional tubes (still in the amp but used for other purposes) literally dividing the opinion of the guitarists. Thanks to the lower cost, compared to the previous ones, many units were sold in the 90s, making it the favorite amp of different backline companies and many recording studios for reliability and versatility; we therefore find his imprint in hundreds of hits of the 90s and beyond.

3 heads in the Lead Trilogy
The goal of the pedal is to recreate the sounds of these 3 amps in a compact format, a fully analog circuitry and a design optimized to be plugged to the input jack of the vast majority of amps set to a clean sound.

Jubilee mode
Thanks to the reconstruction of the particular asymmetrical clipping circuit found on the original head, its typical character rich in upper harmonics with a sharp and creamy focus is achieved.

800 mode
Characterized by a loud voice, full of mid frequencies, which, combined to his direct response is able to cut through the mix of any rock band.

900 mode
It generates a pronounced distortion, loaded with compression and sustain, offering a pungent yet crisp and warm response, particularly highlighting the vibrato technique during lead lines.

Gain: controls the amount of distortion, just like in reference amps.

Tone: works on the frequency response of the distortion, lower values for a darker and warmer tone, higher values give more bite.

Volume: Controls the overall output volume.