TEST: MXR EVH Phase 90

 Guitar Hero. Guitar hero. My goodness, how often has this expression been used by professionally inferior journalists to describe guitarists with rather average technical skills. But if you turn to the experienced critics, the circle of artists really worth mentioning will quickly narrow down to a manageable number. Even if the personal top 10 sometimes varies greatly, there will always be one person among the top 3, as long as you extend the time period to the eighties and don't just get stuck in the sometimes pentatonic boredom era of the late sixties. We are talking about Edward van Halen.

Even if not the inventor of the matter, his name stands for the cultivation of the tapping technique, which in the course of the decade 1980 - 1990 was used to excess by EVERY guitarist of rock and metal. Guitarists of the rock and metal genre copied. Who could not tap at his time was not a guitarist, basta! And as always when a stylistic device is consumed in excess, the fashion wave broke off abruptly and was replaced by the consistent counter-movement "life-is-bad-no-one-understands-me-I-want-to-die" grunge whine department.

I remember well how little Axel sits in front of his vinyl record player and desperately tries to play the figures of "Eruption" in alternate picking and gets one top-searching fit after the next because his playing doesn't sound at all like on record. In addition, Eddie always turned his back to the audience during his solos in order to keep his new technique to himself as long as possible, so it was anything but easy to get to know the hitherto completely unknown technique.

The son of Dutch immigrants living in the USA was initially supposed to become a classical pianist, so the decision to transfer a two-handed tapping technique to the fretboard of a guitar was probably closer than if a traditional guitarist had embarked on such a concept.

Construction:

Although endowed with fundamental harmonic knowledge, EVH approached the tools of his trade with a sometimes unexpected anachronism regarding his equipment. While his colleagues cultivated and cared for their instruments, Eddie's guitars always had the habitus of a perpetual construction site, on which a pickup was apparently just replaced with a drill and jigsaw two minutes before the gig. Sometimes a few wires were hanging out of the side or plastic covers were not even mounted again.

The visually most striking change was the "stripe outfit", which EVH stuck at the time on his "of all manufacturers something" (mainly Kramer) picks. Take a red painted Powerstrat, glue black and white stripes of different thicknesses in arbitrary angles on the guitar, ready is a unique specimen. Eddie would not have dreamed at the time that the Fun Edition should be his optical trademark, which should later be found on his amps, respectively cabinets again.

In terms of sound, EVH was mainly associated with his famous "Brown sound", it is a modified Marshall head, which was driven with a voltage converter in an "unfavorable" voltage range and thus cause the tubes to a highly compressed and very soft clipping (unfortunately, these do not last long and wear out faster than average ...).

In addition, Eddie brought two ground effects that had been somewhat forgotten by the introduction of digital technology back into the focus of the listener, the Phase Shifter 90 and the Flanger 117 from MXR. To pay homage to his person, MXR has now brought out the above pedals in the typical EVH livery as a signature model. With this, Eddie should have risen to the most "signaturesiert" artist. In addition to guitar, amp, box, pickup, plectrum and strings are now added pedals, actually missing only the EVH cable. From such a marketing campaign you can see the market value of an artist.

Both devices immediately convey the well-known MXR heavy-duty character. All components of the stomp boxes are very solid and very well made, even if the base plate of the Phase 90 has a small deformation in the form of an inward bump. Probably the sheet metal was not yet completely cooled down during the processing, the functionality does this no harm. The 117 has 4 strong rubber feet, which secure it against slipping, the Phase 90 comes with a stickable foam pad. Ultimately, however, both would very likely end up on a pedalboard coated with Velcro or similar anyway, so this area is rather secondary (are there actually still guitarists who wire their pedals in free flight and place them individually on stage?).

The Phase 90 could hardly be more spartanly equipped, only a Speed knob controls the speed of the effect. Model 117 comes with "Manual" (intensity), "Speed", "Width" and "Regen." much more variable, which is indispensable for a flanger. Concerning the power supply caution is advisable. While the Phase 90 is content with the standard 9V supply, the 117 has inherited the legacy from its time of origin 20 years ago. The same must be operated with 2x 9V batteries or one needs a today rather unusual 18V power supply. As a signature version, the two devices have, in addition to the eye-catching paintwork, a push switch each, with which you can choose between a "Vintage" and "Modern" sound (Phase 90) and the preset of the Van Halen title "Unchained" (117), regardless of the knob settings.

All of the knobs have the typical MXR plastic tops included which can be slipped over the knobs if needed to adjust them on the fly with your foot. Simple, but effective, whereby the use of all 4 "presences" is rather counterproductive with the 117ner, by uniform height one reaches the two inside lying regulators rather badly. All controls have phosphorescent lines on the knobs and are quite easy to make out in dim light.



Practice:

Phase 90: Immediately after switching on the effect, MXR's currently popular "glare grenade" comes into play in the form of an extremely bright blue LED. Nobody overlooks this illumination. Sonically, the Phase 90 does exactly what is expected of it. A round phase shift, powerful enough to assert itself but never obtrusive or even clinical. When the Vintage switch is activated, the MXR slips into a slightly "muddy" sound character, very suitable for retro sounds. Personally, I like "Modern" a bit better because of the transparency, but it's all a matter of taste.

Flanger 117: If there was a name for official flanger foot pedals, it was MXR 20 years ago and still is today. Some other pedals have more aggressiveness or bite, but sonically no one makes the 117 something. Round in the overall sonic appearance equipped with a high degree of warmth, so a flanger must sound, maybe you really need 18 volts in the supply voltage for this sound. The Unchained preset works perfectly, although I like a little more "regeneration" on the far right in the style of "And The Cradle Will Rock" better, but preset is preset.


Conclusion:

Our Signature Stomp Boxes already look peppy. They sound authentic, make a good impression in terms of workmanship and have exactly the analog flair that various other manufacturers have been panting after for years. Whether the above features are worth the higher price of about 15% (117), respectively 30% (Phase 90) compared to the standard versions, everyone must decide for themselves.

The quality is right, then as now, only the plastic tops of the controllers I found better 20 years ago, then they were still made of softer hard rubber.

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.