32 of the Best Compact Overdrive Pedals - 2022 Ultimate Selection

Controls - Volume, Drive, Treble, Bass.

I'm a huge fan of Björn Juhl - while this is the only of his mainline pedals that I have to date. I have several of his Bearfoot FX, Mad Professor and OneControl circuits, but only the one BJEF so far - which will surely change soon enough as my good friend Joe Light of Joe's Pedals now stocks these - albeit not the 4K version of the Honey Bee yet. This overdrive based on a beaten up early Supro combo is a wonderful and mellifluous smooth overdrive with just the right amount of warm texture - and where the 4-knob Modern variety gives you a little more range and gain overall. Still a distinct lovely sounding overdrive which is somewhat under-appreciated nowadays but still well worth it.

Controls - Level, Tone, Gain, Freak Fuzz On/Off, Phat Mode On/Off.

Readers of this blog will surely know by know that this version of Blues Drive is my absolute favourite of all time. People who love this drive - love it for its enormous versatility where you can control a vast range of gain via simply guitar volume clean-up. The Keeley Mods beef up the original Blues Driver - make it sound deeper, thicker and more harmonic - while it still cleans up to a most incredible dynamic clean boost - where lots of people use the Blues Driver with Gain backed right down and Volume High - much in the same way they would with a Germanium Fuzz Face being deployed as a clean boost! The Freak Fuzz variety adds a further 'Fuzz' mode - meaning you have 4 different playback modes overall! I've recommended this particular variety of pedal to several of my readers, yet not all seem to love it quite as much as I do!

Controls - Level, Tone, Drive, Hollow (Upper-Mids Cut), Bold (Low + High Freq Boost).

I've detailed my adventures with this slightly elusive pedal recently - and while I was a little underwhelmed initially - especially in the wake of the supremely versatile and dynamic Sinvertek N5+ 3D Gold sibling, I have since warmed up to the Scream Honey a lot. I expected it to be more of a Harmonic Overdrive - where it really excels in the High Headroom Transparent Low Gain department. It has a beautiful texture of its own, but not quite rich enough to qualify as 'Harmonic'. This is for sure a 'Pristine' pedal which really has the minimal colouring impact on your signal. Delivers wonderful delicate tones, and where the two additional EQ switches are somewhat refined and subtle in their impact too - where I largely prefer this pedal without those switches employed!

Controls - XLF (Xtended Low Frequency), Presence, +Cream, Level, Drive.

I had been chasing this one since I featured it back in my 2020 rundown as a new introduction. I was waiting for good friend Joe Light to get these in stock on Joe's Pedals - which actually only happened just recently. This is a somewhat Dark and Dense overdrive in some ways, but one that's been beautifully calibrated to complement a Vox amp. In fact this is often referenced as The Vox overdrive where its frequency output profile totally fills in the gaps on the Vox output profile. The Presence dial helps you make it brighter and more open - and I usually prefer it with the +Cream switch applied, while my setup sounds better with the XLF off - obviously that's handy if you have somewhat brighter output Single Coil pickups on your guitar. This is for sure a distinctive voice, but needs diligent dial-in when not used in combination with a Vox combo!

Controls - Cab : 4x12" / Off+Flat / 2x12", Presence : Hi (Bright) / Flat / Lo (Dark), Voice : Modern / Traditional, Brite : Hi / Flat / Lo.

This is another favourite of mine - based on the Trainwreck Express Amp - which is just superbly versatile and produces a really natural and dynamic output with lots of different option variations. This hasn't been too much in circulation recently, but does still but in a fairly regular appearance on the rig. I suffer from an embarrassment of riches really where I have just a few too many great overdrives to accommodate them all in the rotation. The 7 controls on here are quite distinct and they make for a really handy and versatile overdrive - where each of the key settings impacts both on Gain Structure and EQ - just really smartly calibrated.

Controls - Drive, Volume, Tone, Accent, Clipping : D (Deep) / C (No-'C'lipping) / B (Bright), Voice : Jazz / Rock, Type : OD / ODS.

This is still my favourite daily Dumble - despite some very stiff competition. There's something about this which is still magical and this pedal is so easy to dial in despite all its options - start with all the switches in down position and all the knobs at noon - and adjust from there - you can't go wrong. There is something in the edge of the breakup here which is just really special - I talk of my favourite Dumble ODS tones as being slightly fuzz-edged - and this does that brilliantly - still the one to beat as far as I'm concerned!

Controls - Tone : More Hi-Cut / No Cut / Hi-Cut, Volume, Sag (Character / Texture), Drive.

This is another interesting variety of Overdrive - which seems to have something of a Marmite reputation in terms of how some like it where others don't really get on with it. It's actually really versatile in the interplay of the Sag and Drive controls - which do something very interesting to the gain structure in terms of compression and overall texture. Adds a little bit too much colour to be considered fully transparent - I feel it excels at the mid-gain type of voicing where it really has quite a distinct character when you have the Sag and Drive dialled in just right - while I tend to leave the Tone switch in the middle / most undulterated position. This is not going to be to everyone's liking necessarily, but it's well worth a gamble as it's pretty versatile despite its few controls. 

Controls - Drive, Tone (Highs), Level, Boost, Clip : Red LED / Mosfet, Flat : On/Off, Presence : On/Off, Body (Mids / Lower Mids)

Probably my most-used Tube Screamer to-date - this gives you various additional options to take you well beyond the more typical standard Ibanez and Maxon varieties. The very originals had only 3 controls, while we have 5 knobs, 3 x 2-way toggle-switches and dual footswitches here. It's just a really cool super versatile all-rounder extended-range Tube Screamer that I really like the sound of. Where nowadays I'm actually more likely though to use the JHS Bonsai, Kuro Custom Audio P.h.A. and that cool Becos FX Mini Ziffer! The City does though still get the occasional airing alongside its Kingdom Combo Klone sibling.

Controls - Volume, Gain Structure : High Peak / Low Peak, Drive, Tone.

This is probably the first overdrive I really got properly to grips with - I just love its crunchy tones in particular - which means I have it mostly set to High Peak playback mode. In fact I so like this that I have 3 version of it - the V1.7. V2 and GE varieties where on any given day any one of those could be my preferred OCD. Actually when checking out the Hamstead Odyssey the very first tones I landed on were very OCD-esque - so in may ways the Odyssey became my favourite OCD style - while I really love the Germanium clipping GE version too! Lots of us love the OCD - I really don't think you can go wrong with this has really cool low-gain and crunchy applications.

Controls - Loudness, Frequency (Tone), Drive.

This is often considered the ultimate in Low Gain / Low-Colouring Overdrive - often referred to as Transparent, Natural or Organic. I actually think the Menatone Red Snapper compares really well with this - while both drives are still distinct. Also if you like that High Headroom Low Gain sort of thing - then the CKK SH-1N is even more pristine and more minimally colouring than either the Lightspeed or Red Snapper. For a long time this was 'Danish' Pete Honoré's favourite overdrive before Thorpy built him his signature Dane. So this is in many ways the archetypical Neutral, Low Gain Overdrive - while you do have options!

Controls - Volume, Drive, Clipping : Germanium Hybrid / Silicon, Treble, Mids, Bass.

One of the newest Overdrives in the collection where I'm still torn between Silicon and Germanium / Hybrid Clipping Modes as to which is my favourite. There's a range of sweet spots to be found across the dials - while the Germanium clipping is a little more subtle than I imagined. No doubt a fine sounding drive which sounds best for me at mid-gain levels where more of the texture and harmonics come through. Having 3-Band EQ in this format is just really appealing and allows you to reach all kids of tones you could not otherwise. Definitely a worthy addition to the must-have roster!

Controls - Tone, Bass, Treble, Gain, EQ : Pre / EQ (Clean Boost) / Post, Level, Clipping : C1 (Symmetrical) / C2 (Asymmetrical) / C3 (Dual-Clipping), Gain Structure : x2 / x1 / x5 (Multipliers).

I loved the concept of this from the start - I recall seeing its introduction on That Pedals Show and being instantly smitten. I kind of would have preferred a 3-Band EQ, but those 3 x 3-way Toggle Switches really give this pedal enormous scope. That said when I first dialled it in I pretty much landed on what my exact OCD settings sounded like - so initially the Odyssey displaced that - while it has many more tones onboard than said Fulltone pedal. There's a later version of this specially tweaked for Bass - the Hamstead Subspace which includes a clean-blend control too. I do still really like the Odyssey - but may sub in the Subspace eventually though - we'll see. 

Controls - Volume, Drive, Tone, Type : OD-1 / TS808 / TS9 / Metal Screamer / TS10 / Exar OD-1 / TS7 / TS808 Keeley Mod / TS9 JHS Mod.

Josh Scott's ingenious Multi-Drive pedal series - which includes the Bonsai, Muffuletta, and Packrat are all marvels of engineering with between 6 and 9 individual circuits onboard. The Bonsai has 9 key Screamer Flavours - including all the classics, a few cool oddities - where the Exar OD-1 is probably my favourite, and a couple of modded varieties. I would have liked to have had a 3-way Flat / Scooped / Full switch for added versatility. While each of those voicings are really very authentic in their output and control. I believe this is one of JHS's best-selling pedals of all time - a must have for Tube Screamer fans!

Controls - Volume, Gain, Post EQ : 100Hz | 200Hz | 400Hz | 800Hz | 1.5kHz | 3.2 kHz.

I've recently reported how much I like  J Rockett's 6-Band Series as I like to call it - where I bought up the trio all at once really. The Melody actually initially started off as an unnamed Keith Urban Signature Project based on the Animal overdrive, but latterly morphed into a Mark Lettieri Signature Project based on The Dude, Blue Note and Majestic. For me it's really an evolved Dumble style drive - while it's not quite as immediate as the Kondo-Shifuku. But with a little patience and due diligence you can dial in some suitably stellar tones on the Melody. It doesn't have quite the same range or output extensions of its sibling Rockaway Archer - operating more within the Mid-gain spectrum. While it does a pretty decent job in that area as soon as you get used to deploying the really rather sensitive 6-Band Post-Gain EQ.

Controls - Volume, Gain, Post EQ : 100Hz | 200Hz | 400Hz | 800Hz | 1.5kHz | 3.2 kHz.

This is the killer pedal from the 6-Band Series - really taking a Klone into uncharted higher gain territory - with an equally flexible output level. This translates into a slightly more flexible pedal than the Melody, and one that's slightly easier to dial in too. I feel that this is definitely the star of the show, and I would expect it to be one of my most used Klones alongside Thorpy's Peacekeeper. It does all the lower-gain Klone stuff really well too - but it's its overall range and versatility that is so impressive. The sliders are a little sensitive but they really allow you to finely hone your tone.

Controls - Hi, Gain, Lo, Volume.

My friend Giulio's de-compressed take on the Tube Screamer is a real revelation as an all-rounder gain-machine. The pedal has most of the same underpinnings as a typical Tube Screamer, but is much more open and natural in its breakup - which is superbly aided by exceptionally well-calibrated 2-Band Active EQs. There is an internal 18V charge pump, and each EQ has ±15dB on-tap - allied to expansive Volume and Gain controls. This was intended as the ultimate everyday versatile gain-machine which you could take with you anywhere and worked brilliantly in front of a Tube Amp or as rather more neutral sounding overdrive in its own right. Each of my favourite Tube Screamers has slightly different range and different usage scenarios where few are quite so effortlessly adaptable as this one. I run it alongside my Foxpedal V2, JHS Bonsai and Becos FX Mini Ziffer - together the 4 of them give me the most incredible Tube Screamer coverage!

Controls - Red Snapper : Volume, Gain, Hi-Cut, Bite | Blue Collar : Level, Drive, Tone, Presence, Order Switch.

Brian Mena's Red Snapper is one of the kings of the Transparent / Minimal-Colouring Genre - and one that sits very happily alongside the Greer Lightspeed at the top of that category. Here it's allied with its slightly gainier and more compressed Blue Collar Sibling - for a superbly versatile 2-in-1 which I was very lucky to pick up in its first vertical edition. The two sides stack superbly and you get 6-degrees of saturation here right across the gears in combination and deployed individually. The Red Snapper is often overshadowed by the Lightspeed in terms of enduring popularity - while the Red Snapper is every bit as good - a classic for sure, and really handy in the dual vertical Fish Factory edition!

Controls - Level, Hi-Cut : More / None / A Touch, Gain, Tone, Voice (Presence / Bite), On Footswitch, +5dB Dirty Boost Footswitch.

This is actually a really cool overdrive - based very specifically on the Allman Brothers Fillmore East Live Sound - as heard on legendary tracks like 'Whipping Post'. This overdrive recreates Duane Allman's exact playback tonality - where even though he used Marshal amps - this is not a typical MIAB. It has a very distinctive tone and timbre - and the sort of +5dB Dirty Boost Footswitch makes it work like a dual-channel affair really - particularly if you set the gain just right! This is a fantastic and unique sounding pedal that really cleverly captures that Fillmore East Live Sound - if you're into the Allman Brothers then it really is a must! Great sounding right through the dials even though the output is somewhat focused as such.

Controls - Gain / Gate, Compression / Speaker Sim, Level, Low / Tight, Mid / Tilt EQ, High / Presence, Preset : 1-6, Engage / Alt Fctn.

Readers of the blog will know that I'm a fan of Hybrid Analog + Digital Drive pedals - where the Strymon Riverside and Sunset are pretty much permanent in my pedal-chain, and the Boss OD-200 also puts in regular appearances. In addition to those I've recently added a couple of entirely DSP Overdrive / Distortions in the guise of the Mooer Mooer Model X X2 Preamp, and the Neunaber Neuron Gain Intelligence Preamp / Overdrive. By default the Hybrids are a tiny bit more natural in their overall breakup - while you can still get some brittle artefacts if you dial things in wrong. I was surprised how smooth a tone I could get out of the all digital ones - using their controls carefully in combination. You can get some very slightly artificial output if you're not properly careful - while a little patience and due diligence - and in the case of the Neuron - properly balancing the mostly secondary controls - Gate, Compression, Tightness and Presence can deliver some really superb analog-style tones. I was more surprised on the solely digital pedals as to how authentically analog style tones I could generate - while on the strymons and Boss you obviously have a JFET / MOSFET First Gain Stage. The convenience of these latter-day day digital wonders is the inclusion of onboard presets - which makes for really practical and dynamic playback. I was genuinely surprised how good I could get the Neuron to sound. It's not 100% perfect in every department - and with both the OD-200 and Neuron the EQs can be a little hard and dense - where on equivalent analog pedals they impact in much more of a softer nature!

Controls - Drive, Level, ODC (Overdrive De Compress), Spectrum (Low & High EQ), Mid, Lo-Cut.

No collection is complete without a 'Nashville Secret Weapon' and where the original creator of the Nobels ODR-1 Natural Overdrive - Kai Tachibana now has his own Nordland Electronics brand which absolutely delivers the epitome of that genre - in the guise of the ODR-C Custom Overdrive. The 'Spectrum EQ' of the ODR types is unique in raising both Low and High Frequencies simultaneously - while largely keeping the mids stable. This is a great profile for Single Coil Strat and Tele guitars, but can deliver too much low end for Humbuckers. That's why the latest ODR-1 varieties have a Bass-cut switch. Where the Nordland ODR-C deploys a separate Mids Control and variable Low-Cut in tandem with the Spectrum EQ. The ODR-C also has a variable ODC mini-knob which allows you to De-Compress the output for a more open-pored signal. The ODR-C is obviously far more granular and tweakable than its predecessor - is made entirely with original premium THT components and retains all the dynamics and nuances of the original unit that Kai engineered. If you want the ultimate ODR-1 then the Nordland ODR-C is definitely the best option nowadays, while the discontinued Nobels ODR-S with 3-Band EQ is also really cool if you can get your hands on one in a decent condition! The ODR-C is available in two sizes and in both Green and Black colourways.

Controls - Level, Drive, Lows, Highs.

I've always wanted a pristine example of original Boss OD-1 OverDrive with now incredibly rare and discontinued RC3403D 14-Pin-Chip. The Pettyjohn ODI with Mods - or premium original components is the closer modern pedal you can get to that - with the added benefit of 2-Band EQ, where the original had none. You kind of need to crank the ODI a little to delivery its full charge of vintage harmonics - but when you do it truly sounds gorgeous. The OD-1 was the Overdrive that started it all off and inspired the Maxon / Ibanez Tube Screamer, but because of Boss / Roland's ownership of the Asymmetrical Clipping Patent - the Tube Screamers had to be made with Smoother Symmetrical Clipping which funnily appealed more to the general masses of consumers and led to the TS808 / TS9 becoming the most popular and ubiquitous Overdrives of all time! I really love my Modded Pettyjohn ODI and actually had the Pettyjohn Edge (Jr Chime) in one of the previous selections - while that dropped out in the final rounds - while it still remains one of my favourite overdrives!

Controls - Volume, Post Drive, Pre Drive, Frequency Gain ±6dB, Frequency.

The Redbeard Angry Rhubarb is something of a marvel of everyday all-rounder overdrive - with its really clever combination of Pre and Post Gain Stages and Single-Band Parametric EQ. In fact I've not featured the newer Catalinbread Tribute - which I see really as a slightly less capable version of the Rhubarb. What the Rhubarb does so well is just how quick and easy it is to dial in - and how wide a range of tones it can generate in the simplest of fashions. If you want a quick-dial-in all-rounder overdrive - then the Rhubarb surely has to be one of if not your lead candidate. I has excellent breakup character and sounds great right through the dials - another really smartly engineered and calibrated pedal by my good friend Adrian Thorpe!

Controls - Gain, Volume, Tone, Boost, Presence, Left Upper : Bright / Smooth, Left Lower : Deep / Tight, Right Upper : Overdrive / Boost, Right Lower : Standard / Classic (No Boost, Presence to 0) - only Gain + Volume + Tone active.

I feature a few Blues Breaker types in this selection where the Snouse BlackBox 2 Stage Pro edition seems to have become the most popular candidate these days - now with a 2 year waiting list! I'm not exactly sure what I was doing in 2020 but I was somewhat oblivious to the 2 x 20 Batches of Gold Hardware Arctic White Edition which Joshua Aragon made at the start and end of that year. I feel that's the best looking version of this pedal - and despite my petitioning Joshua on several occasions to make one more for me - he has rightly not relented! There are a few basic all-white normal hardware editions out there - which I may just acquire - and swap swap in the metallic Gold knobs myself - while I'm not about to solder in new jacks or footswitch - so there I would likely make do with Gold nuts and a Gold Footswitch Cover Button - in the more recent smaller size - which though still seem hard to get a hold of. I still have a BlackBox 2 Stage Pro edition, while mine is in standard black colourway with regular cream knobs. I will have a gold hardware White Edition eventually - however I get there! Great sounding and really versatile  Blues Breaker - possibly the most consistent to dial in, while to-date my best ever Blues Breaker tone was achieved on the Wampler Pantheon!

Controls - Gain, Drive, Tone.

I have three all-time favourite Harmonic overdrives - actually probably a few more by know, while my original Trio / Trifecta were this Aphelion, the Bogner Wessex and the Greer Southland. That selection is represented by the original here - the Aphelion - which just has the most magnificent harmonic breakup - presumably though smart application of clipping diodes. I'm one of the few that talks of Harmonic Overdrives and indeed the lines can be a bit blurry - while there is a general pattern for sort of mid-gainey overdrives which have a wonderfully textured harmonic bloom - listens to that trio and you will soon get the idea. My first of that type is still very much my favourite and that almost always features in such a best-of overdrive selection. I'm still surprised how relatively rare these types actually are! You can think of it also as a gateway drug into fuzzy-drive!

Controls - Gain, Treble, Volume, Presence, Bass.

Probably my go-to compact Klone nowadays, while the J Rockett Rockaway provides some serious competition to it. Of course the Peacekeeper is not really a Klone meaning it is slightly more broadly based than that - but it relieves some truly fine Klone tones for me. It's not necessarily the easiest pedal do dial in - and if you're going for a slightly softer overdrive which I so like to do with this - then you need to be patient and diligent on the several knobs in tandem. A little patience can generate some stellar tones and this is a really versatile overdrive - but it's not as easy to dial in as some of the others, and for that reason possibly doesn't have as great appreciation as it should have. My favourite setting on this is a sort of Soft Klone - which is actually something that is nigh impossible to achieve on other pedals of that ilk. Another really fine Thorpy production for sure.

Controls - Bass, Clipping / Compression : Up is Compressed Asymmetrical / Middle is Least Compressed Symmetrical / Down is Slightly More Compressed Symmetrical, Gain, Volume, Treble.

Of course no Overdrive collection is complete without a Timmy - whether that be the original Paul Cochrane version - which is my preference, or the new MXR Mini variety, or even derivatives - Vemuram Jan Ray or Walrus Audio Mayflower. The Timmy is supposedly a transparent type - but it's not as transparent / neutral / minimally colouring for me as the Lightspeed, Red Snapper (Fish Factory), or Scream Honey. Still a versatile great sounding drive - even with those slightly dumb backwards EQ controls - which cut the most to the right versus the usual left convention. Like most I prefer the Voicing / Compression switch in the middle - that's why so many people like the Vemuram Jan Ray as it simply just capitalises on that particular variety. Once you've got over the awkwardness of the backward controls this is another really decent and pretty much must-have overdrive type, while I have several varieties I prefer to this overall. I still say go for the original Timmy or new MXR Mini - the Vemuram is undeniably cool - it's just a little too pricey to be entirely practical - and you know how I like to focus on the practical side of things!

Controls - Drive, Volume, Diode Clipping : On/Off, Tone, Fat : On/Off.

The early Fender Tweed Combo Amps were the perfect balance of snap and bite, and make for really cool overdrives - of which my friend Sheldon Ens' True North Tweed Drive is still my favourite variety. It really looks the part, and with its combination of 5 controls - 3 knobs and 2 toggles really sounds the part to with the minimum of fuzz. This is one of those immediately instantly satisfying overdrives which is supremely easy to dial in - I kind of like it with both the optional toggle-switches applied - but it sounds great without too - so I vary the output a fair amount. There is no shortage of great Tweed style overdrives - and indeed I own a few varieties myself - but the True North Tweed Drive is still the most enduring and most natural sounding for me - also at just the right price too!

Controls - Volume, Gain, Mood (Tone), High (High Frequencies / Presence), Headroom : 18V / 9V, Mode / Type : BS Boost, OD1 Smooth Overdrive, OD2 Creamy Overdrive, DS1 Natural Amp Distortion, DS2 Amp Distortion with Bite and OD1+DS2.

The Six Ma1s is one of just 6 limited editions featured here if you also count the discontinued Aphelion - also the Keeley Freak Fuzz Modded BD-2, the CKK SH-1N Scream Honey Gold, the Pettyjohn ODI with Mods, and Snouse BlackBox 2 Gold Hardware. It's a really unique overdrive even as standard as it excludes use of Capacitors - while the Ma1s edition feature rare NOS components. The Six essentially looks too capture the best of the Blues Breaker, Timmy, and King of Tone - via 6 smart individual voicings with a choice of two different headroom settings and dual EQ controls. It has a huge range of gain onboard, while it could possibly do with just one more EQ control to get maximum granularity out of it. Even then it's a really unique overdrive - especially in this enhanced limited edition, while the standard edition is pretty stellar too. Require a little due diligence on the EQ dial in.

Controls - Tone, Mode / Type : Smooth / Open / Crunch, Bass, Volume, Gain.

I still consider Brian Wampler to be the King of Drive - and he's the only one to have a Trifecta in this listing. All of these are excellent in their own way - the Euphoria, Pantheon and Tumnus Deluxe - I've gotten so many great tones out of each of them - truly among the best of those genres - while several people prefer the Mini Tumnus over its more capable larger sibling. The Euphoria was my second Dumble pedal and displaced the Mad Professor Simble from its slot - before the Kondo-Shifuku started its supremacy. There are still some sweetspots more easily reached on the Euphoria - each of my Dumbles really has its own special sauce, and the Euphoria is no different. Make sure you start with the Bass knob rolled right back - that's the only oddity here. For many this is their favourite all-time Wampler pedal.

Controls - Bass, Treble, Presence, Volume, Gain Level : Medium Gain, Max Gain, Low Gain, Voice : Hard Clipping / Crunch / Blended Hard & Soft Clipping / Smooth Soft Clipping, Gain.

While some have the Euphoria or Tumnus as there favourite all-time Wampler overdrive - for me it's the Pantheon for sure. I have something like a dozen Blues Breaker varieties, and of all of those managed to get my favourite Blues Breaker tones on the Pantheon - even though the others really excel in their own ways too. Just a really clever combination of controls and switches. I always found it strange that the Pantheon had Bass, Treble and Presence versus Mids as the 3rd Band - but it really works and you can get all those cool in-between tones too. Just a really smartly thought out pedal - again like the Euphoria where the Pantheon's Presence Control should start off knocked-back like the Bass on the Euphoria. If you like Blues Breakers you really can't go wrong with the Pantheon.

Controls - Bass, Mids, Treble, Level, Gain Structure : Normal / Hot, Gain.

My first favourite Klone pedal was the original Mini Tumnus - which I still love to this day. The Tumnus Deluxe takes that template and expands on it for more granularity and great gain range and structure. 3-Band EQ always really helps you to fine-tune things with ultimate precision. While funnily the first thing I did here was to dial the Deluxe in to sound exactly like the Mini Tumnus - which means reducing some of the Bass and Mids. Lots of people still prefer the Mini Tumnus as it's easier to dial in - and sounds amazing with everything set to noon. For the Deluxe you have a lot more tones and textures onboard - but the default everything at noon setting doesn't sound as cool as the mini does weirdly enough. The Tumnus of course can sound every bit as great and exactly the same as the Mini - with much more besides - for some people it's just overkill as the Mini Tumnus sounds pretty much perfect out of the gate - and won the relatively recent Andertons shootout against some really heavy hitters - including original Klon Centaur! In those early days That Pedal Show was particularly instrumental for me - and led me to both the Euphoria and Mini Tumnus - while I discovered the delights of the Pantheon all by itself. These 3 Wamplers are right up there at the top of the tree with all the big hitters, some of them you just need a little patience with on the dial-in - and you need to know what to do with those knobs. I don't know why but lots of people seem to struggle above and beyond having just Volume, Tone and Gain Controls. I though really like to be able to fine-tine my output in situ - which is why I typically, but not always, go for the more extended-range pedals!

I own around 150 suitable overdrives for this selection - where 32 are already featured above, and several more are listed here in this circa 60 honourable mentions selection - while I don't have all of these ones below - and inevitably I will be looking to add some more of those over the coming months and years (although at a much lesser priority). I will do a separate list below of those pedals I am still looking to acquire at some stage - and that will pf course include the Gold Hardware Arctic White Edition of Snouse BlackBox 2 Stage Pro :

• Analog.Man Prince of Tone (Blues Breaker)
• Anasounds Cerberus Custom Overdrive
• Anasounds Extended Savage Overdrive (Klone)
• Barber Electronics Direct Drive
• Bearfoot FX Sparkling Yellow OD3 (Fender / Tweed)
• Bogner Wessex Overdrive (Harmonic)
• Boss OD-1 Original
• Boss SD-1 Keeley Modded
• Chase Bliss Audio Condor EQ / Preamp / Filter
• Cornerstone V2 Antique Classic Drive (Screamer)
• Cornerstone Gladio SC Preamp (Dumble)
• Demedash 112+ Preamp (Fender Princeton)
• Demiurge Instruments Black Mountain Signal Overdrive
• Demiurge Instruments Chroma Drive
• Demiurge Instruments Teras Dual Overdrive (Screamer + Blues Breaker)
• DOD Looking Glass Overdrive
• Drunk Beaver (Boba-) FET OverBooster
• EBS MultiDrive V2 Swedish (True Bypass)
• Electronic Audio Experiments V2 Halberd Discrete Transistor Overdrive
• Foxpedal Kingdom Combo V2 Compact Overdrive (Klone)
• Foxpedal Vixen Dimensional Drive
• Free The Tone SOV-2 Overdrive (Harmonic)
• Fullone OCD Ge
• Great Eastern FX Small Speaker Overdrive
• Greer Southland Harmonic Overdrive (Harmonic)
• Greer SOMA '63 Vintage Preamp
• Greer Supa Cobra Overdrive
• Hamstead Soundworks Subspace Overdrive
• JHS Pedals Morning Glory V3 Overdrive (Blues Breaker)
• Keeley Retro Super Germanium Phat Mod Overdrive (Blues Driver)
• Lovepedal Tchula White Josh Smith Signature 2-Stage Overdrive 
• Mad Professor Simble (Dumble)
• Matthews Effects The Architect V3 Overdrive + Boost (Klone)
• Matthews Effects The Broker Dual Overdrive (Screamer + Blues Breaker)
• Menatone Dirty B (Fender / Tweed)
• Menatone Dumbstruck (Dumble)
• Menatone Workingman's Blue Overdrive + Boost
• Menatone Wreck'T (TWE)
• MI Effects Cross Over Drive V2 4-Stage Overdrive
• MI Effects Super Blues Pro
• Mooer Preamp Model X X2
• Mythos Pedals Erlking Overdrive (Nobels ODR-1)
• Nobels ODR-S Overdrive Special
• Pedal Pawn Texas Twang Overdrive
• Pettyjohn Electronics Edge Low Gain Overdrive
• Pogo Pedals ZenRay Overdrive (Zen Drive + Jan Ray)
• Polarbear Floral Green 2 Compact Dual Overdrive
• Reuss Germanium Dirt
• Side Effects Il Mostro Triple Drive
• Spun Loud The Litigator Overdrive
• TC Electronic MojoMojo Paul Gilbert Edition (sorta Klone)
• Vemuram Jan Ray (Timmy)
• Vick Audio Lotus 2K Overdrive
• Vick Audio Tree of Life Overdrive (Dumble / OCD)
• VFE Blues King (Blues Breaker)
• VFE Merman Overdrive (Klone)
• VS Audio Straight Flush Overdrive (Screamer / Blues Breaker)
• Walrus Audio 385 Projector Preamp Overdrive
• Walrus Audio Ages Five-State Overdrive
• Walrus Audio Mayflower Overdrive (Timmy)
• Zander Circuitry Surplus Elemental Overdriver Dual Drive

Circa 25+ 'Nice-to-Have' Overdrives that are not yet in the reference collection :

• Analog.Man Prince of Tone (Blues Breaker)
• Anasounds Extended Savage Overdrive (Klone)
• Barber Electronics Direct Drive
• Boss OD-1 Original (Proto Screamer)
• EBS MultiDrive V2 Swedish (True Bypass) (I have the wrong type of this :))
• Free The Tone SOV-2 Overdrive (Harmonic)
• Greer SOMA '63 Vintage Preamp
• Greer Supa Cobra Overdrive
• Hamstead Soundworks Subspace Overdrive
• JHS Pedals Morning Glory V3 Overdrive (Blues Breaker)
• Lovepedal Tchula White Josh Smith Signature 2-Stage Overdrive 
• Matthews Effects The Broker Dual Overdrive (Screamer + Blues Breaker)
• Menatone Dirty B (Fender / Tweed)
• Menatone Dumbstruck (Dumble)
• Menatone Workingman's Blue Overdrive + Boost
• Menatone Wreck'T (TWE)
• MI Effects Super Blues Pro
• Mythos Pedals Erlking Overdrive (Nobels ODR-1)
• Nobels ODR-S Overdrive Special
• Pedal Pawn Texas Twang Overdrive
• Pogo Pedals ZenRay Overdrive (Zen Drive + Jan Ray)
• Snouse BlackBox 2 Stage Pro Gold Hardware Arctic White Limited Edition (only 40 made!)
• Vemuram / Ibanez TSV808 Tube Screamer
• Vemuram Jan Ray (Timmy)
• VS Audio Straight Flush Overdrive (Screamer / Blues Breaker)
• Walrus Audio 385 Projector Preamp Overdrive
• Walrus Audio Mayflower Overdrive (Timmy)