Two distinct sounds that can be used separately but complement each other when combined – a fine utility pedal indeed.
Pros
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A hugely versatile drive pedal.
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Stackable and plays well with your tube amp.
Cons
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Not cheap.
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Browne Amplification – a guitar, amplification and guitar effects company that operates out of Kansas City, Missouri – was set up with the aim of making high-quality, durable and dependable guitar products for the working musician.
Its pedals are designed by David Brown, a long-time musician and guitar tech, with input from guitarist/producer Adam Sniegowski. There are currently two pedals available in the roster. The Protein Dual Overdrive is the result of years of development and road-testing with the aim of creating a dual overdrive that would sound great with any backline.
(Image credit: Future / Phil Barker)
The Protein is based around modified versions of two well-respected drive pedal circuits: the ‘Blue’ side is based on a 1990’s Marshall Bluesbreaker but has a tweaked tone control and extra output, while the ‘Green’ side takes its cue from that Nashville session favourite the Nobels ODR-1.
That pedal typically sounds best at lower Gain knob positions, and this version is tweaked with less gain to give those usable settings over a wider sweep of the Gain knob. It also features a midrange tweak for more body but less woofiness. It certainly gives you all the low-gain, early breakup sounds you could wish for, and provides a very natural push to an amp.
The Blue side offers tasty amp-like drive that compresses nicely. Either side sounds great into a guitar amp, but both working together increases the tonal options, especially in building fat, gainier lead sounds. By default, the Green side feeds into the Blue, but you can use a loop switcher with each in a different loop.
Trevor Curwen has played guitar for several decades – he's also mimed it on the UK's Top of the Pops. Much of his working life, though, has been spent behind the mixing desk, during which time he has built up a solid collection of the guitars, amps and pedals needed to cover just about any studio session. He writes pedal reviews for Guitarist and has contributed to Total Guitar, MusicRadar and Future Music among others.
