A Marshall in a box is a good solution for anyone looking for a vintage Marshall sound but who doesn’t have a big wallet at their disposal.

An original JTM-45 tube amplifier from the 1960s is not for everyone. There are now quite a few pedals on the market that are based on a specific model Marshall amplifier. Below is an overview of 10 of the best Marshall in a box pedals. If you are looking for an overdrive pedal based on a Marshall, then read on!

JHS Charlie Brown V4

JHS Charlie Brown V4 is based on a JTM-45. The JTM-45 is one of Marshall’s first amplifiers and was built from 1962. The JTM is based on the Fender Bassman and had, among other things, some adjustments in the type of tubes. The classic JTM-45 sound is warm and rich in overtones with slightly less crunch than the amps below. The Charlie Brown approaches this sound with an uncanny accuracy. It has a three-band EQ that allows you to set low, mid and high. It is a must for anyone who needs a nice rock crunch.

J Rockett 45 Caliber

The 45 Caliber from J Rockett is also based on a JTM-45 from the 1960s. This pedal has a two-band equalizer that allows you to control the highs and lows. Slightly fewer options than the Charlie Brown. In terms of sound, however, this pedal does not differ significantly from the Charlie Brown. To my ears this .45 sounds a bit ‘neater’ than the Charlie Brown, the sound is slightly rounder. It is most reminiscent of Malcolm Young’s ripping battles in his younger days. In addition, the low gain settings of this pedal are extremely useful.

Keeley 1962X

This pedal is based on a Bluesbreaker combo amp model 1962 (from 1964). The Bluesbraker combos in turn were based on the JTM-45. Bluesbrakers are 35 watt combo amps with KT66 tubes and 2 x 12 inch Celestion speakers. This Keeley 1962X has the option to choose between KT66 tubes (like the original amp) and KT88. In the latter position you get a little more headroom and an extra MOSFET transistor for a tighter and thicker sound and a little more presence. It is a nice pedal that is especially suitable for low and medium rock sounds. The pedal also works great with a boost in front of it that gives you an even thicker sound.

Xotic SL Drive

This pedal may be small, but the sound is mega. The 100 watt Marshal Super Lead and Super Bass model 1959 formed the basis for this Marshall in a box pedal. These amps had four KT66 tubes (up to 1967) and four EL34 tubes (after 1967). Furthermore, there were ECC83 tubes in the preamp. The amps were known for a woody, organic and saturated sound. Also this Xotic SL Drive. You can also choose between a Super Lead or a Super Bass with an internal dip switch. The Super Lead has a lot of gain and more highs than the Super Bass. In the Super Bass mode you get a little more compression and a slightly darker sound. It is an absolute must for Marshall afficionados!

Wampler Plexi Drive Deluxe

The Plexi is not an official Marshall amp model. The name ‘Plexi’ refers to the use of plexiglass, with which the panel of the amplifier was made. However, the 100 watt Super Lead is most associated with the name Plexi. This Wampler Plexi Drive Deluxe has a 3-band active EQ and extra high and low boost switches. There is also a (pre-gain) boost with which you have even more gain at your disposal. The pedal has a nice, natural sounding saturation that will do particularly well in rock. It is suitable for crunchy rock chords as well as bright, mid-range, lead tones. It is a very versatile pedal that sounds good with both single coils and humbuckers.

Catalinbread Dirty Little Secret (SL and SB)

Catalinbread Dirty Little Secret has two different voicings: Super Lead and Super Bass, which can be switched via an internal switch. The pedal is similar to the Xotic SL Drive, which can be switched in the same way. The pedal responds very well to the volume knob of your guitar. Turn your guitar a little softer and you get a great clean sound. The gain of this pedal goes from a mild crunch all the way to that of a classic plexi and everything in between. The Super Lead position gives slightly more gain, the Super Bass has a full frequency range and is particularly suitable for single coil guitars.

J Rockett Animal

Think of an overdriven Plexi from 1968 with this pedal and you get an idea of the sound. The J Rockett Animal features the legendary growl and midrange of this vintage rock ‘n roll amp. If you want the sound to be a bit cleaner, turn the volume knob on your guitar back a bit. The pedal responds very well to the volume of your guitar. Other than that it’s a simple pedal, the four knobs give a fantastic distorted sound, no matter how they are positioned. You can find the perfect sound very quickly and easily.

JHS Angry Charlie V3

JHS Angry Charlie V3 is one of the most popular pedals from JHS. It’s the sound of a JCM800 in a pedal. That means high-gain ripping sounds with plenty of sustain and definition. This third version of the pedal has a full tone control with low, middle and high that simulates the sound of the famous Marshall amp even more accurately. In short, a very complete effect pedal that is suitable for many different music styles, from rock to metal.

Pettyjohn Gold Overdrive

This pedal from Pettyjohn goes through classic low-gain ‘near-overdrive’ to plexi-esque tones to full-blown distortion. In other words, it is a very versatile pedal. The Gold Overdrive is not based on a specific Marshall model but more on a ‘vintage Marshall’ from the 1960s. The Marshall in a box pedal has a versatile parametric EQ section with three analog filters that allow you to fine-tune your tone. The pedal has two internal switches that allow you to adjust the gain headroom and add an Orange Drop capacitor to the highs. This creates a slightly warmer, vintage sound that sounds good with bright amps/guitars.

JHS The AT+

The last pedal in this overview is one from JHS, The AT+. The pedal was designed by Andy Timmons. He uses the pedal for his very recognizable guitar sound. There are five buttons on it: Volume, EQ, Drive, Air, Boost and a three-way switch with which you can choose between 25 Watts, 50 Watts or 100 Watts. The boost is in front of the overdrive channel and can be turned on and off with a separate button. Furthermore, the boost can also be controlled with an external pedal. The pedal goes from very subtle overdrive all the way to screeching ‘are-you-mad’ distortion. In the 25 Watt setting, the pedal has relatively much compression and a ‘just’ distorted sound. In the 100 Watt setting you get much more volume and a more open sound.