This is the current talk here- Friedman's Dirty Shirley pedal. For you to like this pedal, you need to have a liking for a Marshall-like voicing with added saturation. Sounds like the brown sound formula but not quite the drive response. The DS does not saturate like a pedal, it climbs up the gain range by manifesting an amp's sensitivity response. It sizzles at maximum gain setting & remains demure at the lower range with touch sensitivity. The PRESENCE knob & TIGHT flick switch add to character. I'm of the opinion that the former might appeal to the black metal community in turning one's signal grizzly without sounding too polished & prog, along the lines of Dark Throne & company. Like a typical Marshall response, the treble end can be excessive even with the knob dialled up to only the half-way mark.
Like its BE-OD counterpart, the power input jack is still attached to the circuit board. This was the main aggravation highlighted by the pedal community when the BE-OD debuted. It's not a functionality issue but a durability issue. The white knob you see to the left is the pedal's gain trim knob so there's more to it in terms of drive than what the external controls have to offer.
When the BE-OD entered the pedal market in 2016, I walked away with disinterest. It's purely a tonal stand & I saw no point in saying something here. I really didn't like what I heard back then, a boutique level pedal sounding passable with a real potential of being awful. There's this miserable upper midrange honk that threatens to sound mono & killing enthusiasm. The DS pedal on the other hand, brought over its amplifier manifestation so if you've come across the amp & absolutely like what it has to offer, there's much of those character in the pedal. The only thing lacking is some tube warmth so do check your midrange control to prevent a harsh attack for all high gain applications.
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