At FX Pedal Planet Online Store, we’re always excited when one of our trusted builders drops a new creation, and this time, LPD Pedals has truly delivered something special.

Introducing the SUPERNODE: an all analogue, dual overdrive pedal combining two classic tones, each with a modern twist. On one side sits LPD’s take on the legendary ODR circuit, now enhanced with a post clipping Bass control and internal trimmer for pre clipping low frequencies. On the other, a modified Seventy4 Deluxe Green channel delivers ’70s Super Lead punch and growl, complete with internal Mids adjustment.

Add to that the LPD Pedals order select switching system and three programmable bypass modes, and you’ve got one of the most versatile overdrives we’ve seen yet.

We caught up with Lawrence Petross, the mastermind behind LPD Pedals, to learn more about the inspiration, design process, and sonic goals behind the new SUPERNODE.

The SUPERNODE combines two iconic voices in one enclosure. What inspired you to bring the ODR and Seventy4 Deluxe Green circuits together in a single pedal?

The idea behind the SUPERNODE was to capture two distinct, classic flavours in one versatile platform. The ODR circuit has that smooth, open low end and touch sensitive break up that players love for rhythm and edge of break up tones, it’s a staple for a reason. The Seventy4 Deluxe Green, on the other hand, takes the ’70s Super Lead feel and tone into a gig friendly, versatile platform.

I wanted to give players the ability to move between those two worlds, or stack them, without needing multiple pedals on the board. It’s really about offering the tonal range of both circuits in a cohesive, gig ready format, so you can go from transparent to saturated just by engaging one more footswitch.

Many players love stacking overdrives, but it can be tricky to balance tones. How did you approach the design to make the two sides complement each other?

That’s exactly the challenge, stacking drives can sound amazing, but it can also turn into a muddy mess if the voicings and gain structures fight each other. When I designed the SUPERNODE, I approached it from the standpoint that each side needed to sound great on its own and interact musically when combined.

The ODR side gives you that wide, open, full range foundation, it’s dynamic and doesn’t crowd the mids. The Seventy4 Deluxe Green side has a bit more mid focus and a refined compression characteristic. When you stack them, those tonal profiles naturally complement each other: the ODR provides body and depth, while the Seventy4 adds focus and sustain on top.

I also paid attention to the gain staging and EQ balance between the circuits so you don’t have to fight the knobs when stacking. The result is a setup where you can move seamlessly from subtle grit to saturated lead tones without losing clarity or feel.

The order select switching system is a standout feature. Can you talk about how that concept came about and why you wanted to include parallel mode as an option?

The order select system really came out of wanting players to have complete control over how the circuits interact. Everyone has their own idea of what sounds “right” when stacking drives, some prefer running the ODR into the Seventy4 for a smoother, mid forward lead tone, while others like hitting the ODR with the Seventy4 for more punch and harmonic texture. So instead of locking players into one configuration, I wanted to make that choice instantly switchable.

Parallel mode was the next logical step. Once I started experimenting with how those circuits blended side by side instead of in series, it opened up this whole new dimension of sound, you get the low end fullness of the ODR with the focused drive and articulation of the Seventy4, but without one circuit colouring the other. It’s more open, more hi fi, almost like running two amps at once.

Ultimately, it’s about giving players flexibility and tonal depth, whether you want classic stacking behaviour or something more three-dimensional, the SUPERNODE lets you get there without compromise.

There are internal trimmers for pre-clipping low frequencies and mids. Why did you decide to keep those adjustments internal rather than on the front panel?

Those trimmers are there to let you fine tune the feel of each circuit, but they’re not things most players need to adjust often. The pre clipping bass and mid controls shape how the drive responds, basically how tight or open the low end feels on the ODR, and how present the mids are on the Seventy4 DG. They’re powerful, but small adjustments go a long way.

I decided to keep them internal because the goal was to preserve the simplicity and usability of the pedal on the board. If every subtle voicing control was on the front, it could easily turn into a “tweak forever” situation instead of just plugging in and playing. By keeping them inside, you can dial it in once to match your guitar and amp, then forget about it and just enjoy the tone.

It’s a balance between flexibility and focus, giving players the tools to fine tune the response without overwhelming the interface or the live experience.

The ODR circuit has been a go to for session players and pros for decades. What’s your take on what makes it so special, and how does your version elevate that formula?

Yeah, the ODR has earned its reputation for a reason, it’s one of those circuits that just feels right under the fingers. It doesn’t clamp down on your dynamics or push a big mid hump; instead, it keeps that open, amp like response that lets your guitar and playing style come through. That’s why so many session guys gravitate to it, it just sits beautifully in a mix and works with almost any rig.

When I started voicing my version, I wanted to hold onto that natural, uncompressed feel but refine a few things. The original ODR can get a little loose in the low end depending on your amp, so I tightened that up just enough to keep the punch without losing the body. I also paid close attention to how the gain comes on, smoother, more controllable, and a little more articulate as it transitions from edge of break up to full drive.

It’s really about honouring what made the ODR such a classic while giving it the kind of balance and precision that modern players expect. You still get that big, musical sound, just with a bit more focus and clarity.

The Seventy4 side brings in that unmistakable ’70s Super Lead character. What were the biggest challenges in translating that amp feel into an overdrive circuit?

Capturing the essence of a ’70s Super Lead in a pedal is deceptively tricky. The amp itself has a very organic response, the way it compresses, the way the mids bloom, and the touch sensitivity all interact in a way that’s hard to replicate outside of a full amp. When you try to distil that into a compact overdrive circuit, you risk losing that liveliness or ending up with something that feels stiff or overly coloured.

The biggest challenge was nailing the dynamic response and the harmonic content. I had to make sure that the pedal would respond naturally to your picking, soft touches stay clean and articulate, while digging in produces that singing sustain and harmonics you expect from a Super Lead. Balancing the EQ so it felt “amp like” without overwhelming the tone was another hurdle; you want that character without it sounding like a one note mid hump.

It took a lot of iterative listening and tweaking, but the goal was to give players that classic British feel in a format that stacks well, sounds great on its own, and retains the touch sensitivity and expressiveness of the original amp.

The SUPERNODE offers three programmable bypass modes — Independent, Toggle, and Master. Was versatility the driving force behind this design, or was it born from player feedback?

It was a bit of both, really. Versatility was definitely a driving force, I wanted the SUPERNODE to fit seamlessly into any rig, whether a player is stacking with other drives, using it in a simple setup, or switching between channels mid set. At the same time, a lot of the design came from listening to players who wanted more control over how circuits interact without having to add external switches or rewire their boards.

Independent mode lets each circuit act on its own, giving maximum flexibility. Toggle mode is great for players who primarily use one circuit or the other and don’t wish to stack. Master mode ties everything together for those who always stack and prefer a single on/off control. By including all three, the pedal adapts to different playing styles and setups — you’re not compromising, no matter what rig you’re running.

As a designer, how do you decide when a circuit is “finished”? Do you tweak by ear, by feel, or through player testing and feedback?

Deciding when a circuit is “finished” is always a mix of art and science. I start by ear and feel, I play the circuit on different guitars and amps, testing how it responds to picking dynamics, volume swells, and how it sits in a mix. That’s the first, most crucial layer.

From there, I involve player testing. Even if something sounds great to me, the ultimate test is how it behaves under real-world conditions: live performance, recording, and interaction with other pedals. Feedback from trusted players often highlights things I might not notice in my setup, maybe a subtle mid range tweak, or how the gain transitions feel under different attack styles.

So it’s iterative: listen, tweak, test, and repeat. A circuit is “finished” not when it reaches perfection on paper, but when it consistently inspires the feel, touch, and tonal response I want, while also standing up to a variety of rigs and playing styles.

LPD pedals are known for their amp-like response. How do you maintain that organic, dynamic feel across so many different circuit designs?

Maintaining that amp like response is really at the core of what I try to achieve with every pedal. It starts with understanding the way an amp behaves, the touch sensitivity, how it compresses naturally, and how the EQ curves interact with the guitar’s dynamics. That’s the blueprint.

From there, it’s about careful voicing and component selection. I focus on how each stage responds to the input signal and the other stages, making sure that even when the circuit is pushed, it retains clarity and musicality. It’s also about gain structure, avoiding harsh clipping or a compressed, one dimensional feel.

Finally, testing across multiple rigs is essential. I play the circuits through different amps, guitars, and setups to ensure the response stays consistent and organic. I want these pedals to feel like an extension of the instrument, not just an effect. Every circuit, whether it’s the ODR, Seventy4, or a hybrid like the SUPERNODE, has to breathe and react in a musical, dynamic way.

Finally, if you could describe the SUPERNODE in three words for someone who’s never heard it — what would they be?

Versatile. Musical. Responsive.

Each word really sums up what I aimed to achieve with the SUPERNODE. It’s versatile because it adapts to different rigs and playing styles, musical because it preserves the tone and character of each circuit, and responsive because it reacts naturally to your touch, dynamics, and expression, just like a great amp would.

A massive thank you to Lawrence for taking the time to chat with us and for sharing his insights into the SUPERNODE.

For more information, visit the LPD Pedals website www.lpdpedals.com and keep an eye out for more updates.

To place a pre order, email npd@fxpedalplanet.co.uk and don’t forget to follow LPD Pedals and FX Pedal Planet Online Store on social media for the latest news, demos, and product launches.

« Back to news