TEST: MXR MC 402

 In recent times, it has become more than just popular to bring two or more well-known names in the music industry together and thus make use of the well-known synergy effect. MXR, itself one of the forefathers and big names in the field of floor effects devices, has decided to collaborate with a no less well-known name in the guitar field. We are talking about Bob Bradshaw, probably the most well-known designer of custom guitar pedal boards on the planet. According to the company, Bradshaw's company Custom Audio Electronics (CAE) wanted to make its products available to a larger group of interested parties and has reached an agreement with MXR on this.

Bradshaw himself has a wealth of experience in guitar pedals, having built control centers specially made to their specifications for countless illustrious and wealthy names such as David Gilmore, Steve Lukather and Eric Clapton, which can connect and combine pretty much any amp with any speaker and any FX device. Artists like Gilmore can also end up with stage systems that fill a 7.5 ton truck to the roof with equipment, as seen on the last Pink Floyd tours.

Funny enough, Bradshaw recently attracted attention as Steve Lukather's guitar roadie. A prototype of a sound system was to be tested live during a tour and was supervised by Bradshaw himself, who also took on the job of guitar tech. Lukather will probably never do this arrangement again, all the specialist magazines only wanted to interview Bradshaw, and Lukather himself came away with almost nothing in terms of interviews on this tour ;-)

The MC-401 Booster / Line Driver and its MC-402 variant with an overdrive are available for testing.

Construction:

An overdrive pedal in the classic sense will probably be familiar to every reader, as it is the simulation of an overdriven tube, but what exactly is a booster / line driver?

Let's imagine a guitar signal that is sent from a passive pickup on its way to the amplifier. The high-impedance signal first passes through a higher or lower quality instrument cable before it usually has to pass through a few other floor or 19" effects, which are also connected with higher or lower quality cables or connectors, in order to finally reach the amp's input. In addition, there may be some classics from the stompbox guild in the effects chain that do not yet have a true bypass and, even when deactivated, send the guitar signal through the entire on-board electronics. I myself never used a floor tuner live until the introduction of the true bypass / or buffer amp, despite the practical use, simply because no tuner of the time released the guitar signal without a loss of sound.

Whatever signal is still present at the amp afterwards is sometimes just a tired imitation of what the pickup fed into the signal path several meters of cable earlier. Especially with inferior cables (spending €3,000 on a Paula and then wiring everything else with €5 discount cables...), the result sometimes turns out to be a thin, high-frequency, and undynamic sound, which nips any joy in playing in the bud. For a realistic retro sound (I remember a Hendrix backline where 3 Marshall Heads were connected in series with ultra-thin patch cables stretched tightly across the stage.....) this adventurous mixture may well have its appeal and right to exist, but the majority of artists will be rather negative about this sound.

This is where our colleague Booster comes in, whose area of ​​application is twofold. Connected between the guitar and the amp, it can increase the level of the guitar signal and really "blow up" distortion-resistant old-school all-tube amps (keyword "without master"). (No, we're not talking about Jenna Jameson...), which increases both the subjective pressure, the self-compression and also the distortion. Connected after the effects chain, the booster acts as a catch-up amplifier and gives the signal back some of the tonal shine that it lost on its way through the innards of the pedals.

MXR floor pedals have always had something of an "indestructible" feel to them. These models also leave an extremely solid impression. A solid, black metal housing and sturdy plastic controls are very tough and can withstand even the most rough handling with such footwear. The devices can be operated either with a 9V battery or an external power supply, the standard connections are on the front or side. Solid switches round off the overall impression and give hope for a long life expectancy. The two switches are designed as true bypasses, i.e. when deactivated, the guitar signal is routed around the internal electronics.

The classic MXR knobs have a narrow strip on the top for better control of their settings, which fluoresces in the typical green-yellow color in dim light. The markings do not glow particularly brightly, but do not require any power supply.

Practice:

OK, then let's put the devices into operation. Oh my goodness, does anyone have sunglasses? That's not an LED on the top of the housing, that's a spotlight! I've never seen such a bright LED in my life, and it's a very attractive blue, which lights up the booster section when activated. The LED of the overdrive section, on the other hand, comes in a standard red without any glare, and you can tell these two lights apart really well even in poor lighting conditions on stage.

At 0 db boost, the volume of the signal doesn't change at first, but the "refreshing" of the signal mentioned above already occurs. The signal becomes clearer, has more treble and comes through much better in the band context, especially with clean sounds. As the boost increases, the downstream amp slowly starts to distort, depending on the amplifier type with a very dynamic, interactive crunch. I used a VOX AC15 in the sound examples, and you can see very clearly how the compression of the signal also increases with increasing boost, in addition to the level of distortion.

If you add the overdrive into play, the sound changes significantly. With Bradshaw, MXR has developed a typically "American" overdrive, whose semiconductor configuration is in stark contrast to the British overdrive. Bradshaw cannot deny that he was influenced by the 80s and has given the MC-402 the typical "softener" that graced countless platinum rock productions almost two decades ago. While the British overdrive almost always comes with a touch of scratching and sometimes biting sound, the American version is much less aggressive and places more emphasis on sustain-emphasized, more flattering sound.

If you are looking for the typical MXR sound a la Distortion + or similar, you will not find it here. Bradshaw has put his own, unmistakable sound stamp on the devices, which remains clearly audible in every setting. Here you have to try things out, as you always have to test an FX pedal in your personal setup. What produces phenomenal results in one configuration sounds simply pathetic in the next equipment park.

Conclusion:

Nomen est omen! If it says Bradshaw, there is sound culture inside. The MC-401 is an unobtrusive but effective sound enhancer, whose "bellows" I really liked. Connect a vintage amp, turn it up and give it the right boost level, and you're done. If you still sound irrelevant, you should find a competent guitar teacher. If you are looking for a moderate solo sound in the style of Lukather etc., you will find a suitable partner in the MC-402 combination.

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Additional Informations:

MXR Innovations, commonly known as MXR, has become a household name among musicians, especially guitarists, for its iconic and high-quality effects pedals. Founded in the early 1970s, MXR's journey from a small garage operation to an influential industry leader is a story of innovation, persistence, and a deep understanding of musicians' needs. This comprehensive article explores the history of MXR, highlighting its key developments, groundbreaking products, and lasting impact on the music industry.

#### Early Beginnings

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood, two audio enthusiasts with a passion for electronics and music. Keith Barr, an electronics engineer, and Terry Sherwood, a business-savvy entrepreneur, combined their skills to address the growing demand for reliable and innovative guitar effects pedals.

The early 1970s were a transformative time for rock music, with guitarists seeking new ways to shape and expand their sound. Effects pedals became essential tools for achieving distinctive tones and experimenting with sound textures. Recognizing this trend, Barr and Sherwood aimed to create pedals that were not only sonically impressive but also built to withstand the rigors of touring and live performance.

#### The Birth of the Phase 90

MXR's first product, the Phase 90, was introduced in 1974 and quickly became a hit. The Phase 90 was a phaser pedal that offered a rich, warm modulation effect, adding depth and movement to the guitar's sound. Its simple design featured a single knob to control the speed of the phase effect, making it incredibly user-friendly.

The pedal's robust construction, compact size, and distinctive orange casing set it apart from other effects on the market. The Phase 90's signature sound was embraced by many notable guitarists, including Eddie Van Halen, whose use of the pedal on Van Halen's debut album helped cement its legendary status.

#### Expansion and Innovation

Building on the success of the Phase 90, MXR rapidly expanded its product line. The company introduced a series of pedals that would become staples in the guitarist's toolkit:

1. **Dyna Comp (1976)**: This compressor pedal became known for its smooth, even sustain and subtle dynamic control. It helped guitarists achieve a more polished, studio-quality sound, both live and in recordings.

2. **Distortion+ (1973)**: One of the earliest distortion pedals, the Distortion+ offered a gritty, overdriven sound that could push amplifiers into new sonic territories. It was particularly popular among hard rock and heavy metal players.

3. **Carbon Copy (2008)**: Although introduced much later, the Carbon Copy analog delay pedal became an instant classic, revered for its warm, vintage delay sounds and modulation options.

4. **Phase 100**: An expanded version of the Phase 90, the Phase 100 offered additional controls for more intricate phase modulation effects, providing greater versatility for musicians.

MXR's innovative approach extended beyond their effects pedals. The company also ventured into rack-mounted processors and other audio equipment, continually pushing the boundaries of audio technology.

#### Challenges and Resilience

Despite their early success, the late 1970s and early 1980s brought significant challenges for MXR. The effects pedal market became increasingly competitive, with new companies and products emerging rapidly. Additionally, economic pressures and internal management issues began to take their toll.

In the early 1980s, MXR faced financial difficulties, leading to a decline in production quality and consistency. By 1984, the company filed for bankruptcy and ceased operations. This period marked a significant downturn for MXR, leaving a void in the market for high-quality, reliable effects pedals.

#### Revival and Acquisition by Dunlop

The MXR brand remained dormant until 1987, when Jim Dunlop, the founder of Dunlop Manufacturing, recognized the enduring value and potential of MXR products. Dunlop, known for its own successful line of guitar accessories and effects, acquired the MXR brand with a vision to revive and rejuvenate it.

Under Dunlop's leadership, MXR saw a resurgence. Jim Dunlop focused on maintaining the original design ethos and quality standards that had made MXR pedals beloved by musicians. The company reintroduced classic pedals like the Phase 90, Dyna Comp, and Distortion+ while also developing new models that embraced modern advancements in audio technology.

#### Modern Innovations and Legacy

Today, MXR continues to be a leading name in the effects pedal industry. The company's product lineup has expanded to include a wide range of effects, from overdrives and fuzzes to delays and reverbs. Each new pedal is designed with the same commitment to quality and innovation that characterized the brand's early years.

MXR's modern pedals often incorporate advanced features such as true bypass switching, LED indicators, and more precise control options. Collaborations with renowned artists and engineers have also led to signature pedals tailored to specific playing styles and preferences, further enhancing MXR's reputation.

#### Iconic MXR Pedals and Their Impact

The impact of MXR pedals on the music industry is profound. Here are a few iconic models and their contributions:

1. **Phase 90**: Beyond its initial success with Eddie Van Halen, the Phase 90 has been used by countless guitarists across genres. Its distinctive sound can be heard on classic rock, funk, and modern rock recordings.

2. **Dyna Comp**: This compressor pedal has become a studio staple, used by guitarists and producers to achieve smooth, controlled dynamics. Its influence is evident in the polished sound of many hit records.

3. **Carbon Copy**: The Carbon Copy delay pedal brought analog delay sounds back into the spotlight, offering a lush, musical delay that has been favored by both live performers and studio musicians.

4. **Distortion+**: As one of the first distortion pedals, the Distortion+ paved the way for the development of more advanced overdrive and distortion effects, shaping the sound of rock and metal music.

#### Conclusion

MXR's journey from a small startup to an industry standard is a testament to the power of innovation, quality, and understanding the needs of musicians. Despite facing significant challenges, the brand's revival and continued success under Dunlop Manufacturing demonstrate the enduring appeal of MXR pedals.

Today, MXR remains a trusted name in the music industry, known for its reliable, high-quality effects that inspire creativity and help musicians achieve their desired sounds. The legacy of MXR is not only seen in its classic pedals but also in its ongoing commitment to pushing the boundaries of audio technology, ensuring that the next generation of musicians can continue to explore new sonic possibilities.