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Plexi Breed & Lead Trilogy combo - Electric guitar custom pedal - Plexi 1987, 1959, JTM45, Silver Jubilee, JCM800, JCM900 Overdrive, Distortion

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All audio clips about Plexi Breed were recorded with a Marshall JCM900 Dual Reverb tube head and a 4×12 Marshall cabinet equipped with Celestion G12T75 speakers. The amp has been set for an extremely clean setting.
The guitars used in the clips:

Fender Stratocaster (equipped with 3 Fender single coil pickups)
Gibson Les Paul Custom (equipped with 2 Gibson humbucker pickups)
Fender Telecaster American (equipped with 2 Fender single coil pickups)

Clean sound guitar/amp with no effects at all


Clip 1
Guitar: Fender Stratocaster (neck + middle pickup)
Mode: JTM
Normal: 4/10
High Treble 4/10
Tone: 5/10
Volume: 6/10


Clip 2
Guitar: Gibson Les Paul (bridge pickup)
Mode: 1987
Normal: 5/10
High Treble 10/10
Tone: 4/10
Volume: 6/10


Clip 3
Guitar: Fender Telecaster (bridge pickup)
Mode: 1959
Normal: 2/10
High Treble 5/10
Tone: 6/10
Volume: 6/10







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






Plexi Breed

Plexi Breed is a pedal capable of reproducing the sound of the heads that made rock history: the first Marshalls called “Plexi” due to the control panel built in plexiglass. The sounds of these amps have been widely used for a long time, they have been taken as references by many amp and pedal manufacturers. These heads are currently still in production although the opinions of musicians are conflicting, in fact they claim that the current production has changed and building processes are no longer like those of the past (thanks to the fact that Marshall has expanded its market whith more models during the years), by the way from the 60s to the 80s, these fascinating heads were used by most of our guitar heroes.

2 channels
The first Plexi produced by Marshall, as well as the first amplifier ever produced by this historic company, was an amp based on the circuitry of another Fender amplifier, specifically the “Bassman”. However, it was not a full-fledged copy, Marshall JTM45 circuit was different actually different: choice of tubes, some component values, and the structure of the 2 channels. While the Fender Bassman had two identical channels, the first, called Bright, mounted an extra capacitor on the Volume knob, to obtain a brighter sound only at low volume, Marshall created two different channels (High Treble and Normal) thus obtaining the typical sound spectrum of this series of amplifiers. Many guitarists used to jumper the inputs to take advantage of the sounds of both channels mixed together. Plexi Breed has obviously implemented this function, which is essential to to recreate those magic tones.

3 accurately reproduced Plexi amps.
A toggle switch on the Plexi Breed allows you to select the 3 best known Plexi amps by simply moving this lever.

  • JTM recreates the circuitry of the JTM45 evoking, above all, the reaction of the rectifier valve, giving to the guitarist the typical sag attributed to this valve in the power supply circuit;
  • 1959, recreates the sound of the 100W Plexi named 1959. A powerful amp with a very high headroom and a very detailed focus;
  • 1987, recreates the features of the 1987 50W Plexi, different from the 100W in order to obtain a slightly more pronounced distortion and an even faster attack.

The remaining controls are shared by all 3 modes:

  • Normal: sets the gain of the Normal channel, characterized by a strong body response and a unique punch on the low-end frequencies;
  • High Treble: sets the gain of the brightest channel focused on the mid-high frequencies;
  • Tone: allows a general correction to the overall tone, low values ​​offer a darker sound, high values ​​for a sharper sound;
  • Volume: sets the overall volume of the pedal.

Not all the great guitarists of the past used to bridge the two channels, for example Angus and Malcolm Young of AC / DC used to use only the High Treble channel of their Plexi amps; Eric Clapton preferred the Normal channel coupled with a treble booster, and so did others. On the Plexi Breed it is possible to use only one channel by simply taking to the minimum value the control of the channel you don’t want to use.

Plexi Breed can operate at 9V as most pedals on the market do, otherwise it can operate at 18V as well, it configures its bias automatically. Operating at 18V the pedal acquires more headroom giving to the overall sound a less lo-fi footprint. The choise has to be made according to your needs and testes.

A pedal carefully designed to bring to light the timeless Marshall sound.

Note: Power supply (9V or 18V) are not included. Plexi Breed can’t operate with an internal battery.

Lead Trilogy

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.