Benson Amps Portable Distortion 424 MKII vs Walrus Audio 385 MkII Overdrive
The Benson Amps Portable Distortion 424 MKII and the Walrus Audio 385 MkII Overdrive are both pedals sharing compressed, saturated, bright. The Benson Amps Portable Distortion 424 MKII leans edge of breakup and fuzzy. Current prices: $199 vs $211.19.
cited
Blended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.35% — somewhat different
cited
Derived from overlapping tonal signals across both listings.- compressed
- saturated
- bright
- transparent
cited
Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$199via Reverb
$211.19via Reverb
The Benson Amps 424 MKII is a preamp and distortion pedal designed to recreate the saturation and harmonic character of the input stage of the Tascam Portastudio 424 MkII cassette four-track recorder. The circuit captures the non-linear behavior of cassette-era input electronics, spanning from subtle coloration and clean boost through compressed broadband distortion and unstable breakup. A switchable front-end buffer fundamentally alters the gain structure: engaged, it presents a high-impedance guitar input with tighter low end and increased headroom; bypassed, the circuit returns to a darker, fuzzier low-impedance cassette response. Four controls -- gain, trim, bass, treble -- cover a wide EQ range. Internal 18V operation provides increased headroom. Made by Benson Amps in Portland, Oregon.
The Walrus Audio 385 MkII is the updated second version of Walrus Audio's overdrive inspired by the tube amp built into a vintage Bell & Howell 385 Filmosound film projector, whose dual-6V6 output stage gives the circuit its core character. Volume, Gain, Bass, and Treble controls let players boost or cut bass and treble independently, opening up genuine mid-scoop or mid-bump tonal shaping rather than a single fixed voicing. The gain range spans from fairly transparent, low-gain boost tones up through a thick, incredibly compressed, heavily saturated distortion when the Gain is cranked, with the EQ staying powerful and reactive to playing dynamics across that whole range. Some players find the Treble control's sweet spot narrow, requiring a bit of compromise. It suits players wanting a versatile overdrive that runs from clean-ish push to full compressed saturation with real EQ shaping rather than a one-trick drive voicing.
cited
Genres this gear is documented as being used in.- Electronic
- Experimental
- Indie
- Indie Rock
- alternative
- rock
- blues
- edge of breakup
- fuzzy