Earlier this year, in preparation for the 40th anniversary of MXR, its parent company, Dunlop Manufacturing, took a survey to learn how guitarists perceive the pedal maker.
One of the questions asked was, “Which player do you associate the most with the MXR brand?” The respondents chose Eddie Van Halen more than 60 percent of the time. Notably, the runner-up received fewer than half as many mentions.
That result is, in part, due to MXR’s EVH Signature Series pedals, the EVH90 Phase 90 and the EVH117 flanger pedal, which became perennial best-selling MXR products upon their introductions in 2004 and 2007, respectively. But MXR pedals have remained an essential element of Van Halen’s sound since his band’s debut album was released in 1978.
The swirling textures of a Phase 90 are heard on classic tunes like “Eruption,” “Atomic Punk,” “Ain’t Talkin’ ’Bout Love,” “Everybody Wants Some!!” and “Drop Dead Legs” as well as new songs like “Outta Space” and “Stay Frosty,” and Van Halen’s distinctive and innovative use of the Flanger made an indelible impression on guitarists through songs like “Unchained,” “And the Cradle Will Rock…” and “Hear About It Later.”
In addition to those two tone-enhancing mainstays, Ed has also relied upon pro-quality MXR tools like the Six-Band Graphic Equalizer and Smart Gate to keep his onstage tone full, aggressive and noise-free. His current onstage pedal board even includes an MXR Analog Chorus, which he uses for songs like “Pretty Woman” and “Little Guitars.”
In celebration of MXR’s 40th anniversary milestone, it made perfect sense for Guitar World to talk with the company’s most influential player about how his MXR pedals have influenced him throughout the last four decades.
GUITAR WORLD: Did you use any pedals when you were a kid and learning to play?
A wah-wah was probably the first pedal that I ever tried. I probably borrowed it from a buddy. But I was from the school of plugging the guitar straight into the amp, so I didn’t use any pedals at first.
How did you discover MXR pedals?
A really good friend of mine named Terry Kilgore and I were the so-called gunslingers in Pasadena back in the mid Seventies. We jammed together and would trade licks and have a lot of fun. We weren’t competitive at all. I went to one of his band rehearsals once, and that was when I first saw a Phase 90.
He used to play a lot of Robin Trower stuff. He used the Phase 90 with the speed control set around the 2 o’clock setting to get more of that fast, swirling sound. I decided to pick one up for myself. I was into Robin Trower too, but we didn’t play any of his songs, so I used it with the control set between 9 and 10 o’clock. I still use it the same way today. I just locked into that one setting, and I’ve used it ever since.
Why do you prefer the slower speed setting?
I thought it sounded unique. I never heard that before. It didn’t sound like the phase shifters made by other companies, where the phase sweep is more heavy and pronounced, almost more like a flanger. The Phase 90 produces a very light change of the sound. It’s not an over-the-top effect. It’s very subtle.
You tended to kick on the Phase 90 during your solos.
I did that in the early days because it would make the solo pop. Suddenly it became a different sound, which helped me stand out in the mix, because back then, in the club days, we usually had lousy P.A. systems and lousy sound guys. It didn’t boost the signal, but it made it pop out so the solo was more audible. It enhanced the tone.
What led you to the MXR Flanger?
Obviously, I liked the Phase 90, so when MXR came out with the Flanger, I said, What the hell? I loved their stuff. Their pedals are built like a brick shit house, and they make great sounds, so I started putzing around with the Flanger too. I always use the same setting for everything, from the intro to “And the Cradle Will Rock…” to “Unchained,” with the exception of the setting I used on the intro to “Outta Love Again” and “Bullethead.”
I set the three knobs on the left between 11 o’clock or 11:30, and the last knob on the right [regeneration] is all the way up. I might fine-tune the speed a little to match it to the tempo of the song, like on “Unchained” where the sweep goes perfectly with the riff. I was just goofing off and experimenting. It wouldn’t have sounded good to use the flanger all the way through. The riff just needed a little bit here and there. It’s a cool, tasty little tidbit that I threw in there to draw attention to the riff.
How did you decide to place the Flanger in front of the Phase 90 in your signal chain?
I have no idea! I think I just liked having the Phase 90 in the middle between the Flanger and the microphone on the stage.
How did these pedals influence your songwriting?
One good example is “And the Cradle Will Rock…” I had written that intro riff on the electric piano, and the guys thought that it needed something. I just hooked up the Flanger and pounded on the low keys. It was a great sound, and it worked. There wasn’t any rocket science to it. Even the Flanger on “Unchained” was totally by accident.
For some reason I just thought that the Flanger sounded good there. The way it goes from the sweep up to the sweep down wasn’t planned. My normal setting just happened to fit the tempo of the song. I kicked it in and out, and when I heard the way the Flanger swept up and then down, I thought it sounded cool. Nothing I’ve ever done is really all that thought out. I’d just wing stuff, and if it sounded cool I would do it again.
Do you remember how you came up with the intro to “Atomic Punk”?
That basic idea for that sound originally came from “Light Up the Sky,” which I had written before “Atomic Punk,” even though “Light Up the Sky” appeared on our second record. After the guitar solo there is a drum break, and you can hear me rubbing my palm on the low E string. One day I decided to try that with the Phase 90. It was an interesting sound, and it turned into a cool song. I’ve never really ever heard that sound from anyone else, neither before nor after I did that. After the solo, I actually also used the Flanger for a quick bit.
How did those pedals become an essential part of your sound?
They enhance the sound of what I’m playing. In certain spots I would use them if I needed them. It wasn’t a set thing; I’d just wing it, and nine times out of 10 it would work. I have to have an idea for a song first, then I’ll putz around and add or take away things. It’s like making a steak: you have to have the steak first, then you can make it better by adding a little seasoning, but not too much because you want to taste the steak, not the seasoning.
With the exception of your tape echo units, you used only MXR effects during the band’s early days. What inspired that brand loyalty?
I love the way that my MXR pedals sound, and I’ve never broken one. I tried a few stomp boxes by other companies back then, but most of them were cheaply made, the sound quality wasn’t consistent, and they’d break when you stepped on them. MXR pedals are very solidly built. They always do what they’re supposed to do, and they never falter. I’m pretty brutal on my gear. If I can’t break it, no one can!
Did you modify your pedals in any way?
I wouldn’t even know how to modify a pedal. I never had a reason to do that. A pedal does what it does. There are a lot of variables involved in trying to get the same sound as mine. First, you have a guitar. Then there are cables in between that and the type of amp you’re using. Then there are the settings on the amp’s controls. But the most important part is the player. I’ve said this often before: you could put nine guys in the studio playing through my rig set exactly the same and they’ll all sound different. The only modification to my pedals was the player! [laughs] It sounds that way because it’s me playing.
Have you ever plugged your stomp boxes into an amp’s effect loop or in between a preamp and power amp?
I’ve always plugged them straight into the amp’s input. It just sounds better that way.
How did your MXR EVH signature pedals develop?
The ICs [integrated circuits] that MXR used in the Seventies were no longer available. The factories were closed and the technology had changed. The challenge was making pedals that sounded the same as the originals using different parts. That took a while.
The Phase 90 was pretty easy to duplicate, but the Flanger took a lot longer. We worked through a series of prototypes with Bob Cedro of MXR. Our yardstick was the “Unchained” setting. We had my original Seventies Flanger, and we would compare the prototypes to that. Bob would take notes, work on the circuit for another three weeks, and bring it back. We kept narrowing the gap until we got it. It took about nine months of going back and forth. I know exactly what I want, and I won’t stop until I get it.
Who came up with the preset button for the EVH Flanger?
It was a collaborative effort. Since there is one main setting that I use, we decided to make it easy for people to duplicate that. I could also use it to switch between my “Unchained” setting and the one I use on “Outta Love Again,” even though I never actually do that. [laughs] I still like to adjust the knobs myself instead of flipping a button.
Your most recent rig has an MXR Analog Chorus and Smart Gate. Why have you continued to stick with MXR pedals?
I would not be able to use my rig the way I play at that volume on channel three on my 5150 IIIS amp without the Smart Gate. They make great stuff. I have never, ever broken an MXR pedal. They deliver a product that does what it’s supposed to do. It’s that simple.
You seem to be exceptionally loyal to MXR pedals.
I established a great working relationship with Jimmy Dunlop and everyone at the company a long time ago. I’ll toss around ideas with them, and they’re really receptive to my input. I’m very close with them, and they take great care of me.
