The Carbon Copy® Analog Delay has been the world’s bestselling delay pedal in the world since its release in 2009. Its warm analog sound, ease of use, and healthy reserve of delay time made the pedal a hit with guitar players everywhere, weekend warriors and recording pros alike.

We sat down with the masterminds behind this modern classic—veteran MXR® engineer Bob Cedro and Way Huge founder/delay guru Jeorge Tripps—to talk about the this pedal’s origins as well as the development of the newly released Carbon Copy Bright Analog Delay, a collaboration with the guys at Pro Guitar Shop that provides brighter, more refined repeats.

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The MXR® Super Badass Variac Fuzz delivers a big, aggressive, and biting square wave tones with a nice touch of smooth compression. Its Tone, Output, and Gain controls provide plenty of fine-tuning potential, but what makes this pedal a dream come true for tonechasers is its Variac control.

The Variac control allows you to vary the pedal’s voltage from 5 to 15 volts, which also changes how much headroom is available—lower voltage means lower headroom and vice versa. Many pedals sound radically different depending on how much headroom they have.

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MXR set the standard for phase pedals with the release of the Phase 90 in 1972. That little orange box went on to become the sole iconic example of its effect category, and it has been used by the world’s greatest guitar players—such as Jimmy Page, David Gilmour, and Eddie Van Halen—to record some of the most iconic songs ever cut to vinyl.

Several Phase 90-based phasers have been released since then, and this year, we’re introducing the Phase 95—it packs the evolution of the Phase 90 circuit into a single housing, and at half the size of its forebear, it’s the first ever mini pedal from MXR. The Phase 95 is the most versatile phaser we’ve ever produced. Before we get into the how and why, let’s look at the MXR phasers that brought us to this point.

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Overdrive pedals are rad. They’re one of the quintessential components of any guitar player’s pedalboard. But are you getting the most out of yours? That depends on what your sonic goals are. For a lot of players, just plugging in, cranking the gain, and kicking the switch is all they need to get the job done. But that’s not all there is to using an overdrive pedal.

In this article, we’re going to look at three of the most common ways guitar players use overdrive pedals and discuss some important things to consider when using your overdrive pedal with certain types of pickups and amplifiers.

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From time to time, the MXR design team likes to invite guest designers to collaborate on pedals. It’s one of many things we do to keep a fresh and forward-thinking perspective, serving MXR’s ultimate mission to provide players with innovative, practical stompboxes that will stand up to the rigors of the road. In 2014, we worked with Italian pedal designer Carlo Sorasio to create the Il Torino™ Overdrive, and in 2015, we worked with Fuzzrocious Pedals’ Ryan Ratajski to create the MXR Bass Distortion.

This year, we worked with Shin Suzuki, Japan’s most celebrated pedal designer and the owner of Shin’s Music, where he also builds custom amps and guitars for artists. He leant us his intimate knowledge of a legendary boutique amp to create the Shin-Juku™ Drive, a pedal that provides smooth, wide open overdrive with tons of sustain and incredibly fast response time to every playing detail. The Shin-Juku Drive’s simple three-knob interface allows you to call up a wide range of sounds, from an organic boost to full on grinding overdrive, with a Dark switch to cut high frequencies for a darker, mellower sound.

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