TEST: MXR Blowtorch

 Distortion! Sure. Distortion for electric guitar! Also clear. Quite a few different distortors for electric guitar as boosters, overdrive, distortion and fuzz, running into the thousands worldwide! Logical. Distortion for electric bass.......Ähm, yes there should also be....
The somewhat clumsy introduction to this article is intended to give the interested reader a brief impression of how the selection compares in terms of guitar distortion versus bass distortion. If the ambitious six-stringer can hardly make a decision because of all the choices, the low-frequency colleague faces the diametrical problem. Although you can find a fuzz hidden in almost every bass multi-effects unit, the effect usually leads a rather meager existence, usually in the category of "extra" or "we still had some space on the board".

Really self-confident in the style of "shout it out loud, I am a bass distortion pedal and I am proud!" one finds only very rarely a floor pedal. Why is that? Well, there are several factors that have to be taken into account.

The technical reason: an electric bass interferes with other acoustic ranges due to its lower frequency range. If you distort a low tone, it sounds completely different from the sound of a guitar one octave higher. The sound quickly becomes muddy and is more noticeable for its opacity and indistinguishability than for any enrichment of the sound yield. Moreover, you can't adopt the design of a guitar effects pedal 1:1. Nearly all guitar distortion pedals, depending on the manufacturer, cut the bass range marginally to rigorously and thin out the sound massively. For a guitar, this may make sense depending on the musical range, but for the bass, this approach is tantamount to a death sentence.

The technical reason for this is that placing a bass properly in the soundstage is one of the most difficult tasks that a sound engineer has to solve within a production. On the narrow frequency-technical line between kick, a down-tuned guitar and the notorious and dreaded left hand of a trained pianist, you have to find every frequency band and adjust it if necessary in order not to lose the vibrating string in tonal no-man's land. Generating additional harmonics and undertones here makes the bass lose even more of its uniqueness and the disaster takes its course.

The sales aspect: let's not kid ourselves, 99% of all people on this planet are not even remotely able to hear what a bassist is playing, let alone that they even know what a bassist is ("the one with the long guitar neck....") Even among bassists only one out of three can tell off the cuff what the bassist is playing on the record, the rest takes refuge in the keynote. At the latest with the first slash chord it's over, who doesn't know the infamous cover band bass figures of "Highway To Hell". You can imagine what a product manager gets to hear when he arrives at his employer with an FX pedal for bassists, even more, especially for solo bassists. The market is very small. The boss will be afraid that he will not even get the raw material costs for the steel housing back in. By the way, if China continues to buy up the entire raw materials market worldwide, the case will probably be the most expensive part of each instrument in a few years.....

All the nicer that a few manufacturers still dare to develop a niche product, in this case the Blowtorch from MXR, a fuzz especially for bass players.

Construction:

The "blowtorch" comes in a solid zinc die-cast housing, deliberately kept in "rough" with a brushed surface, visually a successful first impression. In terms of detail processing, a few small quirks have crept into the Blowtorch. The bottom and top sections don't really want to come together with 100 percent accuracy of fit, so the nicely rounded edges of the top section are contrasted by a few corners of the bottom section. Not that this is a real problem, but it would have gone a bit "smoother". To generate a better performance, the Blowtorch is powered with 18V, either via two 9V blocks or an appropriate power supply. A plastic foil, which shields the two 9V blocks inside against the electronics, is not exactly a high-end solution, but serves its purpose. Everything else about the Blowtorch, as with all MXR products, makes a very solid and durable impression. Once again, MXR uses its phophoric knobs, six of them in number, teasingly arranged in a semicircle, in addition to a true bypass switch.

In addition to the expected volume and gain controls, a three-band tone control consisting of bass, treble and a midrange control divided into three center frequency bands (250 Hz, 750 Hz, 2 KHz) is used. In addition to the input, the box has two outputs, a looped "Thru" control and the main output, on which the Blend control puts a stepless mixing ratio between the original signal and the distorted signal. This allows you to very nicely adjust the degree of harshness between the distorted signal and the unprocessed signal, or you can route the output signal directly to two different amplifiers. On the right side is an On/Off push button switch, which generates an additional 12 db boost for extreme fuzz attacks. Finally, there is a very bright blue LED on top, which provides information about the switching status.


Practice:

The first thing that presents itself to the ear as soon as you activate the device is nothing! Nothing in the sense of noise or otherwise stored noise, the Blowtorch has an excellent signal-to-noise ratio. Even when wildly turning the Treble control, the noise remains almost below the audible limit, a truly excellent value. Carefully I screw on the tone control and I do well with it. Oh dear, woe betide anyone who ever properly screws the volume control, paired with the bass and midrange control on a loudly adjusted amp and then times properly in langt. In this case, you can immediately visit the speaker dealer of your choice.



The Blowtorch drives an immensely strong level increase especially in the low frequency bands, so you should feel your way carefully through the brutality of the device and not let your gut feeling run free. But once you have found your way of working, you will be spoiled with an excellent tone control. All controls are tastefully placed where they should be and give the device but very high sound variety. In addition, the increased operating voltage ensures a highly effective performance, which is reflected in particular in the bandpass filters.

 

MXR succeeds in distorting the bass tone to the hilt without the infamous bass cut. Even at maximum distortion, the sound does not lose depth and can remain true to its field of application. However, anyone hoping to get a warm growl along the lines of an SVT or a Hiwatt will unfortunately be disabused. The Blowtorch is a real fuzz, that is, here it is about the extreme cases of distortion. At the latest when the side-mounted Boost is activated, you can easily drive your woofer in Zerrorgien of a Minimoogs. It's a pity that the switch is located very close to the input jack, making it much more difficult to operate during operation with the foot.
 

Conclusion:Bassists of all countries unite, who likes solo playing and would like to give it to his guitarist properly (tonally) will find in the Blowtorch a brutal thug, which does not lack assertiveness. Especially in a trio, where the bass player is given a greater harmonic responsibility, you can set accents with the Blowtorch that are quite impressive.

Therefore, try it out and see how much Billy Sheehan is slumbering in you.

Additional Informations:

MXR Pedals: Redefining the Sound of Guitar Effects
Introduction: MXR Pedals is a renowned company that has been at the forefront of guitar effects pedal innovation since its establishment. With a rich history dating back to the 1970s, MXR has consistently delivered high-quality, reliable, and groundbreaking pedals that have become staples in the guitar community. From iconic classics to cutting-edge advancements, MXR continues to shape the sound of modern music.

History and Legacy: MXR Pedals was founded in 1972 by Keith Barr and Terry Sherwood, who aimed to create high-quality effects pedals that were both affordable and accessible to musicians. The company quickly gained popularity for its innovative designs and reliable construction. In 1987, MXR was acquired by Jim Dunlop, a move that further solidified the brand's influence and commitment to producing exceptional guitar effects.

Diverse Product Line: MXR Pedals offers a diverse range of guitar effects pedals, catering to a wide variety of musical styles and preferences. Their product lineup includes classics like the Phase 90, Dyna Comp, and Carbon Copy Delay, which have become industry standards and have been used by countless guitarists around the world.

In addition to their classic pedals, MXR continues to innovate and introduce new products. They have expanded their range to include distortion, overdrive, modulation, delay, reverb, and many other types of effects pedals. Each MXR pedal is meticulously designed and engineered to deliver outstanding sound quality, ease of use, and durability, ensuring that they meet the demands of professional musicians.

Innovation and Technological Advancements: MXR Pedals has consistently pushed the boundaries of guitar effects technology, introducing innovative features and advancements that enhance the tonal possibilities for guitarists. For example, the MXR Carbon Copy Analog Delay introduced the "bucket brigade" circuitry, replicating the warm and organic tones of vintage analog delays.

MXR has also embraced digital technology to create versatile pedals, such as the MXR Reverb and MXR Digital Delay, which offer a wide range of customizable sounds. Their collaboration with renowned artists and engineers has resulted in signature pedals, like the MXR EVH Phase 90 and MXR Joe Bonamassa FET Driver, which capture the unique tones of these guitarists.

Durability and Reliability: MXR Pedals are known for their rugged construction and reliability. The company takes pride in ensuring that each pedal is built to withstand the rigors of live performances and studio use. MXR uses high-quality components, robust enclosures, and reliable footswitches, resulting in pedals that are road-worthy and can withstand the test of time.

Artist Collaborations: MXR has a rich history of collaborations with renowned guitarists and bassists. By working closely with artists like Eddie Van Halen, Slash, Zakk Wylde, and Dimebag Darrell, MXR has developed signature pedals that capture the unique tones and playing styles of these musicians. These collaborations have not only brought attention to MXR pedals but have also contributed to their ongoing innovation and development.

Pedalboard Solutions: MXR recognizes the importance of pedalboard organization and has introduced various products to help musicians optimize their setups. They offer pedalboards, power supplies, patch cables, and other accessories designed to simplify cable management and ensure efficient operation of multiple pedals.

Awards and Recognition: MXR Pedals' commitment to excellence and innovation has garnered significant recognition within the music industry. They have received numerous awards, including Guitar World's "Gold Award" and Guitar Player's "Reader's Choice Award" for their outstanding products. These accolades serve as a testament to the quality and impact of MXR pedals in the guitar community.

Conclusion: MXR Pedals has been instrumental in shaping the sound of modern music through their innovative and reliable effects pedals. With a rich history of groundbreaking designs and collaborations with legendary artists, MXR continues to be a trusted name in the guitar effects industry. Whether it's classic analog tones or cutting-edge digital versatility, MXR pedals consistently deliver exceptional sound quality, durability, and ease of use. As they continue to push the boundaries of guitar effects technology, MXR remains a go-to choice for musicians seeking to enhance their sonic palette and create unforgettable music.