TEST: MXR Distortion Pedals

 What was the first effects pedal that almost every guitarist bought around 25 years ago? A distortion pedal! Why? Because the powerhouses of the time mostly had a very good crunch sound, but they were completely out of touch when it came to a standing, singing lead sound. One of the main reasons for the resounding success of the Mesa Boogie amplifiers that first appeared at the time was the factory-made solo sound, which was characterized by, among other things, much greater gain reserves than its competitors.

Rock musicians can generally be divided into two camps. Some prefer an amp that can produce the various gain levels from clean to lead in one housing thanks to an extensive choice of channels, while others value the one official sound of their amp and rely on different pedals, or boosters, overdrive, distortion and fuzz to vary the distortion patterns. The second type of "half-wave prohibition fans" mentioned above will certainly have come across the name MXR. Under the aegis of Dunlop, it was the American company that was one of the first to come out with the legendary Distortion + to offer the all-tube heads additional flexibility in terms of distortion.

I have the Distortion + in its current form for testing. To make the test more meaningful, I included two other successful models from the MXR catalog in a comparison test, the Distortion III and a custom-made model from the Dunlop Custom Shop, the GT-OD.

Construction:

Lined up neatly next to each other, the landmines remind me a little of the unspeakable "traffic light coalition" that is threatening us again in some federal states these days. One thing is certain, however, even if the pedals turn out to sound pathetic in the test, a product cannot sound as pathetic as the current political representatives of the people are behaving across all parties in all their corruption, even if it were just an empty cardboard shell filled with excrement!

Strictly speaking, a direct comparison within the products mentioned is not possible, as the three distortion pedals cover three different categories within the distortion segment. The Distortion+ is primarily a fuzz pedal, the Distortion III is nomen est omen under the distortion category, while the GT-OD is a real overdrive. However, since all products come from the same company, it is interesting to show parallels and contrasts.

All devices come in very sturdy metal housings, which will probably ensure a long life. All test candidates are equipped with a true bypass, an LED, phosphorescent marking lines on the controls and work with either a 9V block or a mains adapter. The two distortion guys come in a kind of light hammer finish, while the Custom Shop colleague has been given a green metallic finish.



Practice:

Distortion+: I think I remember that this distortion pedal was actually the first distortion pedal that little Axel bought around 27 years ago. It sounded terrible in front of my Peavey Deuce Combo, but it was in front of my Marshall 2210 that it first developed its potential. My ears were completely undeveloped at the time, so I can't even remotely remember the Distortion+ producing such a high proportion of fuzz. In fact, from around 1 o'clock on the distortion control, the bright yellow box develops the typical artifacts that make up a real fuzz. Even at full deflection, the "ring modulator sound" that occurs in other representatives of this genre cannot be detected, but the sometimes deliberately crude overtone generation leaves no doubt as to where the Distortion+ should be placed. For straight chord work beyond the power chord duos, however, things get tight for the Distortion+ at a certain gain factor, the overall sound becomes too muddy. However, the fuzz is great for single lines or scratchy Black Sabbath riffs. You should also try the pedal as a booster with low gain and high output.

Distortion III: The Dist. III is relatively new to the range, with MXR striving to make the Distortion III another classic in its product range. Even though the time has passed due to the variety of products when it was possible to generate a real classic regardless of product quality, it actually has what it takes. For a distortion, the Dist. III comes with an unexpectedly soft distortion, although all MXR products in this range have always been known for a high proportion of "smooth". The Dist. III does not cover the sound with a high proportion of its own, but gives the artist plenty of freedom to create his own personal playing style. The tone control is quite ineffective, there is no difference in sound between the left and right stops, which of course also has the advantage that you can't really mess up the sound. In the words of Jim Marshall, "my amps have an ineffective tone control on purpose, so you can't set the amps wrong"! Beautiful singing lead sounds are just as possible as powerful chords, here you definitely have to lug your own amp with you to the music store as a reference, only then can you decide whether the soft sound suits your own equipment.

GT-OD: As a real overdrive, the greenhorn from the Custom Shop appeals to a completely different clientele than its two predecessors. Connected in front of a clean amp, the GT-OD produces a soft crunch that works very well in blues or AOR. It very subtly complements the artist's dynamic playing and allows a high degree of interaction. The listener is also spared the notorious treble cut or mid-range boost. Quite neutral in sound, it actually seems like another tube in the signal path. Connected to a distorted amp, you can generate a very nice solo sound. The tone has enough sustain and yet still has enough power to not drown in the "gain softener". The tone control works a little more effectively than on the Distortion III, but without causing any sludge or sawtooth sounds. A very nice piece of equipment!

Conclusion:

Despite the differences, it cannot be denied that all pedals come from the same workshop. MXR actually has its own sound across all products, which is always characterized by a high level of "analogy", that is to say a high degree of warmth and softness. In my opinion, these products are not built for ultra-aggressive metal applications; rather, they embrace the different styles of rock at the highest level, be it 70s crunch, 80s hard rock or 90s grunge howl.

The GT-OD has emerged as my personal favorite. In my opinion, the components and overall sound are even better than the already high quality of its product colleagues. Of course, opinions can differ on the colorful design of the pedals in "8-bit mode" ;-)

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Additional Informations:

The world of guitar effects pedals is vast and diverse, with numerous companies contributing to the rich tapestry of sound possibilities available to musicians. One company that has left an indelible mark on the industry is MXR. Renowned for their innovative and high-quality pedals, MXR has been a staple in the world of guitar effects since the early 1970s. This article delves into the detailed history of MXR, focusing specifically on the development and impact of their distortion pedals.

## The Birth of MXR

MXR was founded in 1972 in Rochester, New York, by Keith Barr and Terry Sherwood. The company’s inception came at a time when the demand for guitar effects was burgeoning, driven by the burgeoning rock and roll scene. Barr and Sherwood, both engineers with a passion for music, saw an opportunity to create reliable, high-quality effects pedals that could withstand the rigors of touring and performance.

### The First Pedal: The Phase 90

While not a distortion pedal, the Phase 90 was MXR’s first product and it laid the groundwork for the company’s approach to pedal design: simplicity, durability, and great sound. Released in 1974, the Phase 90 quickly became a favorite among guitarists for its lush, swirling phasing effect. Its success provided the financial stability and brand recognition necessary for MXR to expand their product line.

## The Introduction of Distortion Pedals

### The MXR Distortion +

The MXR Distortion +, released in 1975, was one of the company’s earliest forays into the world of distortion. This pedal was designed to provide a warm, tube-like overdrive that could push an amp into heavier territories. The Distortion + featured a simple two-knob layout: one for output level and one for distortion amount. This straightforward design made it easy for guitarists to dial in their desired sound without getting lost in a sea of controls.

The circuit of the Distortion + was based around a single operational amplifier (op-amp) and used germanium diodes to clip the signal, creating its distinctive distortion character. This design choice was crucial in shaping the pedal’s sound and set it apart from other distortion pedals available at the time.

### The MXR Distortion II

Following the success of the Distortion +, MXR continued to innovate with the release of the Distortion II in the late 1970s. The Distortion II was a more complex pedal, featuring additional controls that allowed for greater tonal flexibility. It included knobs for output, distortion, and two-band EQ (high and low), enabling guitarists to fine-tune their sound with more precision.

The Distortion II's circuit design was more intricate than its predecessor, utilizing multiple op-amps and a more sophisticated clipping stage. This resulted in a pedal that could produce a wider range of distortion tones, from mild overdrive to aggressive fuzz.

## The 1980s: Expansion and Innovation

### The MXR M-104 Distortion+

As the 1980s rolled in, MXR continued to expand its range of distortion pedals. One notable release was the M-104 Distortion+, an updated version of the original Distortion +. The M-104 maintained the core characteristics of the original pedal but featured improved components and a more robust build, ensuring its place on pedalboards for years to come.

### The MXR M-117 Flanger and the Distortion III

In addition to their distortion pedals, MXR also released the M-117 Flanger, which, while not a distortion pedal, was often used in conjunction with distortion to create rich, textured sounds. The synergy between MXR’s modulation effects and their distortion pedals was a key factor in their widespread adoption by guitarists in various genres.

The Distortion III, introduced in the early 2000s, was another significant addition to MXR’s lineup. It offered a more modern take on distortion, with a smoother, more refined sound compared to the raw aggression of the Distortion +. The Distortion III featured a three-knob layout (output, tone, and distortion), providing a versatile range of tones suitable for both vintage and modern rock styles.

## The Influence of MXR Distortion Pedals

### Iconic Users and Signature Sounds

MXR's distortion pedals have been used by some of the most influential guitarists in rock history. Randy Rhoads, the legendary guitarist for Ozzy Osbourne, famously used the Distortion + to craft his iconic sound. Other notable users include Dave Murray and Adrian Smith of Iron Maiden, who used MXR pedals to shape their groundbreaking twin-guitar harmonies.

### The Pedal That Shaped Metal

The Distortion +, in particular, played a significant role in the development of heavy metal. Its aggressive, cutting distortion helped define the genre's sound in the late 1970s and early 1980s. Guitarists found that the pedal could push their amplifiers into new levels of gain and sustain, making it a staple for metal musicians seeking to push the boundaries of their tone.

## Technological Advancements and Modern MXR Distortion Pedals

### The Custom Badass Series

In recent years, MXR has continued to innovate with the release of the Custom Badass series. This line of pedals aims to combine vintage analog warmth with modern reliability and versatility. The Custom Badass '78 Distortion, for example, is a modern reimagining of the classic distortion pedal, featuring true bypass switching and a "Crunch" button for added tonal flexibility.

### The MXR Super Badass Distortion

The Super Badass Distortion, another modern addition to MXR’s lineup, offers a comprehensive range of distortion tones. With controls for output, distortion, and a three-band EQ, the Super Badass Distortion can emulate everything from vintage overdrive to high-gain metal distortion. This versatility makes it a popular choice for contemporary guitarists seeking a single pedal that can cover a wide array of sounds.

### Integration of Digital Technology

While MXR has traditionally been known for their analog pedals, they have also embraced digital technology to enhance their offerings. The MXR EVH 5150 Overdrive, a collaboration with Eddie Van Halen, combines analog circuitry with digital control to deliver a wide range of overdrive and distortion tones. This pedal is a testament to MXR’s ability to innovate while staying true to their analog roots.

## Conclusion

MXR’s journey from a small startup in Rochester to a globally recognized name in the world of guitar effects pedals is a testament to their commitment to quality, innovation, and simplicity. Their distortion pedals, in particular, have played a crucial role in shaping the sounds of rock and metal music for decades. From the iconic Distortion + to the modern Custom Badass series, MXR continues to push the boundaries of what guitarists can achieve with their tone.

As the company looks to the future, it is clear that MXR will remain at the forefront of pedal design, continuing to inspire musicians around the world with their groundbreaking products. Whether you’re a seasoned professional or an aspiring guitarist, MXR’s distortion pedals offer a gateway to a world of sonic possibilities, ensuring that the legacy of this iconic company will endure for generations to come.