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But I think the circuit is about the same on the two SD-9s. The SD-9 Sonic Distortion has more distortion than the TS-9, which is more an overdrive pedal than a distortion. The Glad DM-2W Waza has two settings, for low high Custom delay time. An amp can only put so much voltage out of it's output transformer and make the speaker go back and forth so much. That is normal in an analog delay and nothing can be done about that, it's why elements love their sounds. Then unplug the power from the back of the DMM. It has eight isolated power outputs so your effects will not have dating mxr pedals problems no matter what the polarities are. It used a normal 9V power supply for ease of use. If you have the two 3005 file model with 2 empty sockets then it's cheaper.
MXR, the maker of the Phase 90, is 40 this year. Although its reputation was founded on rugged reliability, the company has always been forward-looking in terms of tones, too. We talk to Jimmy Dunlop, Jeorge Tripps and Bob Cedro to find out what the future holds... Simple yet tonally authoritative and tough, MXR pedals have been around for 40 years. Founded as MXR Innovations in 1974 in Rochester, New York, by audio techs Keith Barr and Terry Sherwood, the firm's colourful enclosures housed tones that would remodel the sonic landscape of guitar. MXR's founders eventually moved on to new audio projects with Alesis and Whirlwind USA, and Dunlop acquired the brand in 1987. Today, MXR pedals are more hot-rodded and modded than any that have come before, but maintain the marque's reputation for rugged effectiveness. So has life begun at 40? We picked the brains of MXR's Jimmy Dunlop, Jeorge Tripps and Bob Cedro to find out why they're having more fun with effects than ever before... When I started Way Huge Electronics in 1992, I used MXR as the role model. Jeorge tripps and jimmy dunlop Jeorge Tripps left and Jimmy Dunlop right It's a revealing admission that illustrates how MXR shook up the world of pedals back in the 70s. Thousands of young players were blown away by the tornado of phaser-drenched overdrive that Eddie Van Halen unleashed with MXR's Phase 90, which rapidly became an iconic effect. Four decades on, the block-colour enclosures of those early MXR pedals still look modern, minimal and cool, but a lot's changed too. When Jeorge came in, I was like, 'Screw it! We need to have some more fun here too! And then we started working with Billy Gibbons - and we were trying to put it in a box for him, but that took three years and we never brought it out. And I was thinking, 'Man, we have to bring out that pedal'. That's the name of the killer in that film. So we painted it purple in honour of Ernie Isley, and brought it out as kind of a Custom Shop deal. But it's part of a conscious move to inject some extra attitude into MXR's range of effects pedals without losing sight of what made them popular in the first place, says Jimmy Dunlop. And I was always envious that Jeorge could come out with a Swollen Pickle or a Red Llama, because I kind of had my hands tied because I was MXR. And I thought, okay we're doing a Phase 90 and a Phase 100... And then when Jeorge came in, I was like... We need to have some more fun here too - so let's see what we can get away with, without pissing off the MXR purists. That's kind of where we're at. And, actually, the philosophy they had in the beginning worked really well: they designed utilitarian pedals you could drop off the end of a truck that were simple enough you didn't need a manual to get going and be inspired. Because - let's face it - guitar players have a short attention span... I'm one of them! Ruggedness has always been one of the hallmarks of MXR pedals, and since Dunlop bought the brand, they've put a lot of time and thought into continuing this trend... It's a stompbox - so right there it's gotta have the durability of withstanding abuse - and musicians, you know, they throw gear in the back of a truck. We worked with a company that makes switches and approached it from the ground up again. Or does MXR's rigorous approach mean they'll always appeal to a certain kind of player? But I would go crazy if I thought about it all the time. I know that those guys... What tones are players looking for at the moment? I like to hear that floodgate of power from the guitar. But we work with a great bunch of musicians who are in the trenches and causing trends, so luckily we kind of have our ear to the track... And at the moment I think that players are kind of coming back to the analogue world - or at least to digital effects that are more analogue-like. That's the trend, for me. Would MXR ever consider putting some of its classic pedals into a similar analogue multi-effect unit? And I don't know that with analogue... I just think the circuits are big, and it's not like digital - it's not all burned into one chip. You get into how big a board has to be to put out different types of effect, and have it all on one casting. To me, it takes away the simplicity and the beauty of just that one pedal with three knobs. I like to mix and match and I like the freedom of that. There's not so much reverence for the backstory that it'll stop them having some fun, however. So for us to not be hot-rodding our pedals, our designs, would be crazy. We have a little more personality than to just stock pure orange phaser pedals. MXR phase 90 Phase 90 The Phase 90 and its descendants are MXR's best-selling pedals. Launched in 1974, and designed by Keith Barr, this four-stage phaser featured a single knob to control the rate of the effect. The original 'script-logo' unit used 2N5952 JFET transistors in combination with six 741 op-amps replicated in the MXR CSP-026 Handwired 1974 Vintage Phase 90 to generate its hallmark phasing tone, a spec which was later revised several times, including under Dunlop ownership - more recent versions feature three dual op-amps, for example. The script logo was changed to the block logo in 1977, while offshoots such as the Eddie Van Halen Phase 90 have a redesigned circuit. Musicians have used the Phase 90 to change the sound of music. It's the iconic example of the phaser effect. Its TL061 op-amp was consequently chosen for its low current draw. The most recent Micro Amp+ adds EQ and a lower-noise circuit to this already classic design. Dirt pedals produced before '72 to '73 were generally some type of square-wave fuzz effect, such as the Fuzz Face. The enclosures of the earliest script-logo units were made by third-party company Bud, and these are now highly collectible. Script-logo pedals, which utilised the LM741CN op-amp, sound tonally distinct from the block-logo units featuring the UA741CP op-amp. A higher-gain variant from the 80s Commande series was simply called the 'Overdrive' model, while the 2000 Series model of 1983 featured a substantially redesigned circuit.
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