TEST: Carl Martin Plexitone

 I seriously doubt that Jim Marshall would ever have expected the gigantic success of his amplifier, which he achieved due to the constant whining from the big names of the scene at the time, such as: B. Pete Townsend simply made it by copying a Fender Bassman 1:1 and inflating the performance. It's hard to imagine how many technical coincidences were involved that the saturated power amplifier sag produced the legendary sound, which to this day remains one of the eternal top 5 all-tube sounds and which has already been used by countless programmers in the IR copying department drove me crazy. With the Carl Martin Single Channel PlexiTone, another warrior ventures into the fray to get closer to the legendary, but anything but easy-care tone.

Where is the problem?

It is probably generally clear that the various Marshall models, which are called “Plexi”, get their nickname from the front panel, which was initially made of Plexiglas and later made of sheet metal. However, the fact that models with completely different sounds are also listed under this name reveals a problem that one is not immediately aware of. In fact, there is no such thing as THE Plexisound, especially since the large manufacturing tolerances of the individual components of the time made every amp sound different anyway. This means that when it comes to sound, you can only move within a rough framework of parameters that the majority of the Plexi family fulfills.

Furthermore, since today's youth usually find a master volume all-tube amp too big, too heavy and too expensive, they would probably be scared away with a non-master amp. The idea that such an amp only reveals its sweet spot at a final volume close to physical harm reduces its practicality in any club to almost zero. A small side note: the “English setting” (everything at 10), which is often used for potency reasons, is absolute nonsense. Even a Plexi sounds completely crappy in this area. As soon as the power amp leaves the saturation with a subtle sag aspect and goes into real distortion itself, an amp just sounds "broken" and can perhaps still be used for punk rock, but no longer for the sweet, highly compressed legendary tone.

The art and challenge for every product that is committed to the “Plexisound” is, above all, to reproduce the saturated EL34 characteristics, together with the slightly collapsing sound behavior of the driver stage, etc., at a moderate volume, or in terms of sound to get as close as possible. Because we can all agree on one thing: a 1:1 copy is never possible, it's just a matter of getting close to the original. Now then, on to the Plexitone pedal.

The conception of the Carl Martin Single Channel PlexiTone

The Carl Martin Single Channel PlexiTone is a further development of the Plexitone Lo-Gain variant, which was almost in the booster corner, and the original Plexitone in its large version. In collaboration with Youtuber Pete Thorn, the pedal was given a slightly different basic sound in which the highs and basses were reduced a little and in return the mids were boosted a little more. (“It’s all in the middle!”).

Another special feature is that the Single Channel Plexitone now has a 9V DC connection for practical reasons. For sound reasons, the previous model still had the impractical 12V power supply, which was responsible for a large part of the sound, but was not supported by the majority of power supplies. This problem was solved by feeding in 9V, but transforming the voltage internally back up to 12V so as not to suffer any loss in sound. Higher voltages usually also offer higher headroom and therefore higher dynamics, which is also the characteristic of a high-quality all-tube amp.

In terms of feel, the pedal leaves a good impression. The housing is solid and was designed in the typical ocher-gold color, probably to increase the association with the Marshall panel. The Carl Martin Single Channel PlexiTone is advertised as a distortion pedal, but is designed as a typical overdrive, i.e. H. As expected, even at maximum drive level, the pedal never reaches the dimensions of a distortion pedal. But the pedal is not designed for that. The pedal's control options are also in the typical overdrive department with level, drive and tone. Plus a power supply input on the front and the on/off switch, and you're done.

The Carl Martin Single Channel PlexiTone in practice

In order to capture the sound of the Carl Martin Single Channel Plexitone in its entirety, you must pay particular attention to the amp/cabinet combination used. Anyone who believes that they have finally found the final Plexisound with the pedal before their Kemper or similar will unfortunately have to be disappointed. As expected, it's not about squeezing the complexity of the Plexi sound into a pedal in any way, but rather it's about driving a good-sounding amp, preferably an all-tube amp, at a moderate volume into a Plexi mode below the pain range.

So what's better than using an amp that's very close to the original Plexi? For this purpose I took my 1976 Marshall Model 1987 (Non-Master) and adjusted its sound so that it did NOT distort, but only generated a touch of saturation. Of course, the cabinet used was a Marshall 412 with Vintage 65s from Celestion installed. The whole thing was removed with 2 pieces. SM57 replicas called MS57 from FAME.

It is also important to find the right guitar for the pedal. This time I intentionally didn't use the active EMG pickups that I usually like to use, but instead opted for a Strat Lim. Ed. from 1994 and a standard Paula from 2014, neither of which are vintage giants, but good tools for a moderate mainstream sound. In order not to distort the sound, nothing was edited, nothing was mixed, nothing was improved, nothing was optimized.

To make a long story short, the Carl Martin Single Channel PlexiTone sounds really great. I had fun and compared the sound with my Plexi, which I drove to saturation, and the result is truly impressive. The pedal really manages to recreate both the feel and the classic compression behavior very well, provided you give the pedal a chance to spread out in front of a very good sounding amp.

Many will ask, why have the Plexitone when I already have a good sounding amp? Shouldn't I work better with a load resistor to curb the amp? Well, a load resistor has a very strong influence on the interaction with the speaker. It's a matter of taste, of course, but I've never been impressed with the sound of a load resistor if you want to route playback primarily through the loudspeaker.

Here I find the Carl Martin Single Channel PlexiTone approach much more interesting, as its sound is particularly impressive on vintage amps. Two more words about the regulation. Be careful with both the level and the tone controls. The 12 o'clock position otherwise chosen by the manufacturers regarding level in / out = the same volume is already at around 10.30 o'clock for this pedal, i.e. H. At 12 o'clock the amp is already blowing properly. The tone control should also be used discreetly, unless you prefer the classic 60s bite sound. What is considered appropriate for a Paula is quite good for a Strat.

Depending on the guitar/amplifier setup, the sound result varies from good to great, so if the sound is not within the desired range, it is probably not the pedal that is to blame, but the general conditions.

Conclusion

With the Carl Martin Single Channel PlexiTone, the USA-based company has a very special but excellent overdrive in its range that masters the great challenge of Plexi Sound adaptation very well. The overdrive, which is specially designed for the power amplifier saturation, saves many tonal Plexi attributes in the moderate volume and thus allows a practical volume without the band members and FOH having to raise the white flag.

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Additional Informations:

**The Genesis of Carl Martin Pedals: A Journey Through Innovation**

Carl Martin Pedals, a renowned name in the realm of guitar effects, has a rich history intertwined with innovation, passion, and a commitment to quality. Founded by Carl Martin, a Danish musician and electronics enthusiast, the company has left an indelible mark on the world of music with its exceptional range of pedals. Let's delve into the fascinating journey of how Carl Martin Pedals came to be, tracing its origins, key milestones, and enduring legacy.

**Origins and Early Beginnings**

The story of Carl Martin Pedals traces back to the late 1980s when Carl Martin, fueled by his passion for music and electronics, embarked on a quest to create high-quality guitar effects pedals. Born and raised in Denmark, Martin's journey into the world of music began at a young age. He honed his skills as a guitarist, exploring various genres and styles while developing a keen interest in the technical aspects of sound manipulation.

Driven by his desire to enhance the sonic capabilities of his guitar, Martin delved into the world of electronics, immersing himself in the intricacies of circuitry and signal processing. His relentless experimentation and meticulous craftsmanship soon yielded promising results, as he began crafting his own custom-designed pedals in his workshop.

**Innovations and Breakthroughs**

One of the defining characteristics of Carl Martin Pedals is its relentless pursuit of innovation. Martin's early creations garnered attention for their exceptional sound quality, durability, and innovative features, setting a new standard in the industry. Among his notable innovations was the implementation of dual-mode circuits, allowing players to switch between different tonal characteristics with ease.

Another breakthrough came in the form of the Hot Drive'n Boost pedal, which combined the warmth of a vintage overdrive with the versatility of a clean boost. This pedal quickly gained popularity among guitarists worldwide, earning praise for its dynamic range, responsiveness, and ability to enhance the overall tone of any amplifier.

**Expansion and Growth**

As demand for Carl Martin Pedals grew, so did the company's reach and reputation. Martin's commitment to quality and innovation resonated with musicians of all genres, from aspiring beginners to seasoned professionals. In response to this burgeoning demand, the company expanded its product line, introducing a diverse range of pedals catering to various sonic preferences and playing styles.

From overdrives and distortions to delays, reverbs, and modulation effects, Carl Martin Pedals offered something for everyone. Each pedal was meticulously designed and handcrafted, ensuring unparalleled performance and reliability on stage and in the studio. This dedication to craftsmanship earned the company a loyal following and solidified its position as a trusted name in the world of guitar effects.

**Enduring Legacy**

Today, Carl Martin Pedals continues to uphold its legacy of excellence, with a commitment to innovation, quality, and craftsmanship. While the company has grown and evolved over the years, its core values remain unchanged. Every Carl Martin pedal is still crafted with the same attention to detail and passion for music that drove Carl Martin himself all those years ago.

Moreover, the company's dedication to customer satisfaction and support has endeared it to musicians around the globe. Whether it's providing expert advice, troubleshooting technical issues, or simply sharing in the joy of creating music, Carl Martin Pedals remains deeply invested in the success and happiness of its customers.

In conclusion, the story of Carl Martin Pedals is a testament to the power of passion, innovation, and craftsmanship. What began as a humble pursuit of sonic perfection has blossomed into a world-renowned brand synonymous with quality and excellence. As Carl Martin Pedals continues to push the boundaries of guitar effects technology, one thing remains certain: the journey is far from over, and the best is yet to come.

**A Closer Look at Carl Martin Pedals' Product Line**

Central to the success of Carl Martin Pedals is its exceptional range of guitar effects, each meticulously designed and handcrafted to deliver unparalleled performance and tone. Let's take a closer look at some of the flagship products that have helped define the company's legacy:

**1. Hot Drive'n Boost**

The Hot Drive'n Boost pedal is perhaps one of Carl Martin's most iconic creations, renowned for its versatility and tone-shaping capabilities. Combining the warmth of a vintage overdrive with the clarity of a clean boost, this pedal offers a wide range of sonic possibilities, from smooth bluesy tones to searing rock leads. With intuitive controls for drive, level, and tone, the Hot Drive'n Boost empowers guitarists to sculpt their perfect sound with ease.

**2. EchoTone**

The EchoTone pedal represents Carl Martin's foray into the realm of delay effects, offering pristine digital delay with analog warmth and character. Featuring intuitive controls for delay time, feedback, and level, this pedal allows guitarists to dial in everything from subtle slapback echoes to expansive ambient textures. With its high-quality signal processing and built-in tap tempo function, the EchoTone is a versatile tool for adding depth and dimension to any performance.

**3. Quattro**

For guitarists seeking maximum versatility in a compact package, the Quattro pedal offers a comprehensive solution with four essential effects in one unit. Combining overdrive, distortion, delay, and reverb, this pedal covers a wide range of sonic territory, from vintage-inspired tones to modern ambient textures. With independent controls for each effect and the ability to save presets, the Quattro is a powerhouse of creativity for guitarists of all styles and genres.

**4. Octa-switch**

Rounding out Carl Martin's lineup is the Octa-switch, a versatile pedal switcher designed to streamline the organization and control of multiple effects pedals. With eight individual loops and programmable presets, this pedal allows guitarists to create complex signal chains and switch between them seamlessly. Whether it's organizing a pedalboard for live performance or optimizing a studio setup for recording, the Octa-switch offers unmatched flexibility and convenience.

In addition to these flagship products, Carl Martin Pedals offers a diverse range of effects pedals, including modulation effects like chorus, flanger, and tremolo, as well as specialty pedals like the Andy Timmons Signature Compressor and the Headroom Spring Reverb. Each pedal is crafted with the same attention to detail and commitment to quality that has become synonymous with the Carl Martin name, ensuring a lifetime of musical inspiration and enjoyment for guitarists around the world.