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The Pettyjohn PettyDrive looks complicated, but with two channels, a parallel effects loop, and multitudinous voice-shaping options, it’s as much a brain or hive for your pedalboard. Remember what we said about overdrive being a pivot around which your whole sound can turn? The PettyDrive very constructively takes that potential to great lengths. And if you’re a control freak or a player that approaches tone with a studio engineer’s mindset, the PettyDrive’s potency is hard to resist.
First impressions aren’t very telling when you look inside. Squint and the mass of wires looks like a clown-colored riot. Look closer, though, and you notice what a well-executed, robust build this is. Individual knobs and switches are all chassis-mounted well away from the densely populated circuit board, which is mounted on four strong steel posts on the chassis’ underside. The topside of the unit hints at the ambition in this OD design, but the guts reveal how thoughtfully it is carried out.
At a glance, the PettyDrive is an indecisive player’s horror show. In actuality, the control layout is quite logical—which is good given that Pettyjohn did not label a single control. Taping the easy-to-eyeball instruction card that comes with the unit to its underside is a pretty good idea.
Essentially, the PettyDrive is made up of two matching sets of controls. Gain, level, and tone for each channel are stacked vertically along each side. One significant difference between the two sets: The lower-gain “chime” channel uses a “tilt” EQ, which boosts treble and cuts bass, or vice versa, simultaneously. The higher-gain “iron” channel uses a simpler high-cut tone control. The top knob is a mix control for the effects loop, which only works with the “iron” channel. Switches include dedicated, three-position low-cut toggles for each channel, plus a clipping diode selector for each channel. You can also flip the order of channels using the center switch.
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