Brought to you by the tinkering emulation masters at Catalinbread, the Dirty Little Secret delivers one of the best Marshall based Distortion Pedals on the market. The Dirty Little Secret captures the magic of not one but two of Rock and Roll's most iconic amplifiers, the Marshall Super Lead #1959 and the Marshall Super Bass #1986. Everyone from Hendrix to Angus Young to Duane Allman to James Hetfield have played or recorded with these amps at some point in their careers.
Like a Marshall in a can! • The tone controls get reconfigured, depending on what mode the pedal is set to. Whether in SL or SB mode, the tone circuit is exactly, part-for-part, the same tone circuit as found in Super Lead and Super Bass Marshalls, and they will behave and interact the same way as on their amp counterparts. • Full featured bass, middle, and treble tone controls provide precise adjustments for a multitude of tones and to match your amp and guitar. • Preamp controls the gain or amount of overdrive. The new DLS was tuned to allow a bit more gain than most plexi Marshalls actually got. Super Bass mode was tuned to have less gain then the Super Lead mode to get more of that early Marshall response. • Master knob controls the output volume. For the best response out of your DLS, you should set the Master volume so that the sound with the DLS engaged is a bit louder than your bypassed sound. • Consider your guitar's volume knob as part of the Dirty Little Secret's control surface. Even in Super Lead mode with the Pre-Amp cranked, you can get a perfectly clean sound by rolling back your guitar's volume knob. The "Super Lead" mode expands the range of the DLS MkII with more gain available and more control over your tone sculpting with the addition of the midrange control while still enhancing the touch-sensitive dynamic qualities that make the DLS so great to play.. The gain range now goes from classic plexi all the way to modified JCM800 levels and can get even more raw and open than any previous DLS. The "Super Bass" mode is a new voicing that gives you the tone and gain structure of a Marshall Super Bass (which is very similar to a JTM45 or JTM50/100). This mode was voiced to really hone in on that elusive in-between "not quite clean, not quite dirty" response that old tube amps were so good at getting. And it was specifically voiced to make fuzz pedals sound great.