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High gain distortion pedals are as difficult for me as a great sounding drive. Many out there fuzzing out tremendous levels of washout high gain. Might be why I change pedals so often, but some survive because they are just a cut above. I currently run a Mesa ToneBurst, a Mesa Flux Drive with a Wampler Pinnacle as my main gain section. I use the Pinnacle more on vintage with less gain, I do not really do the EVH thing but I can appreciate the tone. I had been looking around for a really good articulate uber gain dist pedal as they are such a hoot to mess with at times. I had a Wampler Triple Wreck for a time and that puppy was the best to my mind for a period. I got into Mesa pedals as I dig the Flux drive so I thought I'd try the Mesa Throttle Box EQ to get that classic Mesa V notch. Problem was it just was not doing the deal for me. The notion of fuzz with distortion is not my thing really, and I needed more articulation and note definition which tends to wash out with more and more gain structure.
Hearing of the new SD Palladium and doing my best to not pay much attention to the various videos which left one not so much wondering no one reads manuals of frequency response and what something actually does. Not to mention that recording a really good high gain tone is apparently really difficult, for many video demo makers it would seem.
The Duncan video on the making and design of the Palladium was the deal for me. I got what they were trying to do and while this pedal does not reinvent the wheel it does have a magical alchemy of op amps and germanium diodes that does indeed have that feel and response you get from a, dare I say, amp in "djent" mode. The quality of the distortion gain structure is extremely good with this pedal. I sent the Throttle Box back and went for this white Palladium, very happy with it.
At first examination the Palladium appears well made w quality smooth pots and notable EQ adjusts. Std switch scenario, no popping from switch charging. What I learned right off, being a "manual" info guy, was the EQ controls were flat at noon boost/cut 12db which allows for a marvelous range of adjust and tweaking which I am sure I have not ranged completely yet.
Insightful coolness about this unit is the dual gain adjusts for "Gain" on the higher frequencies and "Resonance" on the lower.
Try as I might I am unable to get anyone at S.D. to tell me the frequency shelving or pass frequencies they over lap on, maybe a trade secret.
At any rate a marvelous idea. Without the Resonance low end you get a little too thin, with the two a range of adjust to suit any tone idea.
Also is the very cool mid EQ parametric boost/cut midrange which allows a copious range of notching or mid boost. My only peeve is not really knowing where an exact frequency is on the knob. If you want that cool Mesa V notch at 750hz you are going to have to make a good guess. Guys, more markers on this would be a treat.
I like to know what I am doing and if I want a notch cut at 750 that is where I want it. I am not one of those twist the knob tone explorers. You know the ones that give me a laugh on various videos. They have the boost toggle on and no level on the knob or adjust the boost knob without the switch engaged, that sort of thing.
I like knowing my bass control is centered at 100hz or my treble and so on, it helps me design a tone and more minor adjusts on the knobs for live sound.
So, how does it sound?
Right off this is gain monster and even rolling it all the way down competes with the dirtiest drive you might have. But, it sounds amazing, it feels amazing as you play. The quality of the distortion voice structure is superb. It has that sort of tone that has you playing things you never attempted before. I was ripping through metal prog and so forth that I would have never mustered without the Palladium. The note articulation is just excellent and one hears the full range and quality of the guitar instead of a typical washout over gained fuzz bomb.
Nothing wrong with cool fuzz, but daddy does not like fuzz in my distortion pedals despite the clipping and circuit are so close. One of the things I did not like so much on the Triple Wreck was the boost circuit is a fuzz that lays on the distortion which is all fine and good but soon just washes out all sense of note definition. High gain is very good and fun but try playing that deep mid notched fuzz wash just does not cut through a band nor can it be heard well. The artful thing about the Palladium is that it just comes through and you can hear the notes much less arrange a high mid boost that comes out of the mix that will turn heads.
I can hear the germaniums kick in with the boost and it does add considerable hair but not to the point it looses its cool amp like feel and response. Gets a thumbs up from my picky hard to please tone self. They call it "saturation" in the manual and that is pretty much what I would term it.
Being a guitarist for more centuries than I care to, or can recall, this is a keeper pedal for me. This is my high gain "djent" pedal. There might be others that have more gain and fuzzy tones but none that sound better. Seymour Duncan Engineering is making some killer pedals and have peaked my interest to try some others. If the Palladium represents a new paradigm in design and ideas, bring them on!! I am so tired of getting pedals I expect too much from and getting disappointed when in hand. This puppy at first chords and notes gave me that "oh yeah" thing that is a great one.
Bravo Duncan Engineering staff!
Hearing of the new SD Palladium and doing my best to not pay much attention to the various videos which left one not so much wondering no one reads manuals of frequency response and what something actually does. Not to mention that recording a really good high gain tone is apparently really difficult, for many video demo makers it would seem.
The Duncan video on the making and design of the Palladium was the deal for me. I got what they were trying to do and while this pedal does not reinvent the wheel it does have a magical alchemy of op amps and germanium diodes that does indeed have that feel and response you get from a, dare I say, amp in "djent" mode. The quality of the distortion gain structure is extremely good with this pedal. I sent the Throttle Box back and went for this white Palladium, very happy with it.
At first examination the Palladium appears well made w quality smooth pots and notable EQ adjusts. Std switch scenario, no popping from switch charging. What I learned right off, being a "manual" info guy, was the EQ controls were flat at noon boost/cut 12db which allows for a marvelous range of adjust and tweaking which I am sure I have not ranged completely yet.
Insightful coolness about this unit is the dual gain adjusts for "Gain" on the higher frequencies and "Resonance" on the lower.
Try as I might I am unable to get anyone at S.D. to tell me the frequency shelving or pass frequencies they over lap on, maybe a trade secret.
At any rate a marvelous idea. Without the Resonance low end you get a little too thin, with the two a range of adjust to suit any tone idea.
Also is the very cool mid EQ parametric boost/cut midrange which allows a copious range of notching or mid boost. My only peeve is not really knowing where an exact frequency is on the knob. If you want that cool Mesa V notch at 750hz you are going to have to make a good guess. Guys, more markers on this would be a treat.
I like to know what I am doing and if I want a notch cut at 750 that is where I want it. I am not one of those twist the knob tone explorers. You know the ones that give me a laugh on various videos. They have the boost toggle on and no level on the knob or adjust the boost knob without the switch engaged, that sort of thing.
I like knowing my bass control is centered at 100hz or my treble and so on, it helps me design a tone and more minor adjusts on the knobs for live sound.
So, how does it sound?
Right off this is gain monster and even rolling it all the way down competes with the dirtiest drive you might have. But, it sounds amazing, it feels amazing as you play. The quality of the distortion voice structure is superb. It has that sort of tone that has you playing things you never attempted before. I was ripping through metal prog and so forth that I would have never mustered without the Palladium. The note articulation is just excellent and one hears the full range and quality of the guitar instead of a typical washout over gained fuzz bomb.
Nothing wrong with cool fuzz, but daddy does not like fuzz in my distortion pedals despite the clipping and circuit are so close. One of the things I did not like so much on the Triple Wreck was the boost circuit is a fuzz that lays on the distortion which is all fine and good but soon just washes out all sense of note definition. High gain is very good and fun but try playing that deep mid notched fuzz wash just does not cut through a band nor can it be heard well. The artful thing about the Palladium is that it just comes through and you can hear the notes much less arrange a high mid boost that comes out of the mix that will turn heads.
I can hear the germaniums kick in with the boost and it does add considerable hair but not to the point it looses its cool amp like feel and response. Gets a thumbs up from my picky hard to please tone self. They call it "saturation" in the manual and that is pretty much what I would term it.
Being a guitarist for more centuries than I care to, or can recall, this is a keeper pedal for me. This is my high gain "djent" pedal. There might be others that have more gain and fuzzy tones but none that sound better. Seymour Duncan Engineering is making some killer pedals and have peaked my interest to try some others. If the Palladium represents a new paradigm in design and ideas, bring them on!! I am so tired of getting pedals I expect too much from and getting disappointed when in hand. This puppy at first chords and notes gave me that "oh yeah" thing that is a great one.
Bravo Duncan Engineering staff!
pink is fine but pedals not so much... 
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