I must be one of the first lucky hounds to get the GOLD - since I've not seen any posted reviews here yet I'll preface by saying that I have the Blue and Red. Got the Blue specifically for the EJ violin tones. I've already experienced the difficulties in dialing it in and the rewards that come when it hits the sweet spot (you need the right amp for this). The Red came a while later. By contrast, the Red is like a "pedal for dummies" in that there really are no "bad" settings - more gain, less gain; tone high, tone low... The Red obviously is going for the RF/LC tones. I find that my favorite settings are mild overdrive with the tone in the middle on the hard setting, which produces those LA studio tones, and full gain with the tone rolled down and the switch set to soft for some fusiony tones. However, I was one of the Red lovers who wanted more gain on tap. Brad had told me that the Gold would be a good fit. Now, I am no expert on tone. Never played some of the legendary amps. Not a technical guru by any means, But I do know good tones when I hear them... For reference, the pedals are all in front of a Valvetrain 535. The Valvetrain is a 2x6V6 tweed-based amp with Eminence speakers - one 12" and one 10". Simple layout with decent headroom and punchy tweed tones. When I unpacked the Gold, I immediately plugged it in next to my Red for the obvious comparison. The first thing I noticed is that there is some common ground here. They are like brothers, whereas the Blue is like their second cousin from Austin Texas. The gold is capable of more rock tones than the Red. The Red is the older brother, a little more sophisticated and mellow with age. The Gold is the younger, more mischievous brother. I have been lusting after the tones in some of the youtube clips of Guthrie Govan (which is Cornford all the way). Well, I believe the Gold gets me there. Where the Red has been described as "chewy," the Gold is "juicy." There is plenty of gain on tap, and the dynamics and articulation are there all the way up. Open the throttle and your picking dynamics still come through. The Gold is like a great tube amp. It reminds me of my old (unmodified) BOSS Super Overdrive, but much, much better. The toggle switch works in a similar way to the Red's. The overall tone of the Gold might be a little brighter than the Red (I have to spend more time to confirm this) but the Gold's tone is really useful and has a wide spectrum of useable settings. To me, the Red does sound good at bedroom levels. Better at gig levels. I haven't had the chance to test the Gold at anything other than bedroom levels, and it sounds amazing there. Anyone who only plays at home need not be concerned about not being able to crank it to gigging volume to get the good tones. The extra gain of the Gold lets my Strat rip, where the Strat wasn't powerful enough through the Red to produce higher gain levels. The Gain Stage Gold certainly lives up to the expectations established by the Blue and then the Red. The quality is readily apparent. This is a pro piece of equipment. The sensitivity and articulation we've come to expect from Brad's little wonder boxes makes the Gold a true contender in the boutique pedal arena. I was looking for something with the smoothness of my Red and the monstrous power and gain of the Blue, and the Gold fits in perfectly. I'm a jazz and fusion player, primarily, but no matter how old I get, I still like cranking it up and letting it rip. The Gold is a great vehicle for fast legato runs, tapping, all kinds of juvenile pyrotechnics (remember the '80s?) and, yet, back off a little and you've got a soulful, detailed, complex tone machine that is very responsive. Put it this way - I've never really been a "pedal distortion" guy. I've always been an "amp distortion" guy. The Jetter Gain Stage Gold breaks through that barrier and makes me think that all I may need from now on is my single channel clean amp.