BOSS MT-2 –Metal Zone Effects Pedal for Guitar and Bass. Legendary High-Gain Distortion Pedal with over 1 Million Sold. BOSS 5-Year Warranty.

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So in short: having an MT-2 on your pedalboard will give you a stronger signal, even if it’s switched off. Who’d have thought? 3: Modding the Metal Zone The famously “mean and green” Tube Screamer possesses unique EQ characteristics; shelving flabby low-end and boosting mid-range to increase clarity. Because of these qualities, Tube Screamer pedals interact incredibly well with distorted high-gain guitar amplifiers and also help to produce extra saturation by adding a touch more gain. Most metal players will typically set a Tube Screamer’s ‘Drive’ knob low, and use the ‘Volume’ control to adjust the gain to taste — with ‘Tone’ acting like a presence control. Kurt Ballou is a producer at GodCity studios in Salem, Massachusetts as well as a guitarist with Converge, and he's a master architect of heavy tones who knows gear better than most. He even makes his own pedals and guitars under God City Instruments name. While he's an aficionado of the Boss HM-2, for a while he used the MT-2 and like other heavyweight players on our list, he utilised it as a boost. I tried every distortion pedal on the market and every time I heard the sound that excited me, it was the Metal Zone!” he told Total Guitar last year. “Iswear, even at this stage in my life, the Metal Zone speaks to me in a way that no other pedal does, because of the saturation. The thing that makes it sound a little bit cheaper than other pedals is what excites me so much. Ithas this chaos in the high frequencies. You can really make your guitar shriek! state of transition. Platinum acts such as Bon Jovi, Mötley Crüe, Poison, and Skid Row gave way to the grunge scene emanating from

Carbon-zinc battery (9 V, 6F22) Option (sold separately) AC adaptor: PSA series Size and Weight Width 73 mm As early as 1978, Boss added the iconic DS-1 Distortion to its compact series. In 1983, it launched the HM-2 Heavy Metal. David Gilmour used one for a while, but the HM-2 was not a triumph in the traditional sense, and certainly not a triumph at the first time of asking. Not everyone enjoys the Metal Zone’s over-the-edge quality. The Metal Zone divided opinion upon its launch. It divides opinion now. Just Google “Boss MT-2 Metal Zone” and the first suggested link that comes up under ‘People also asked’ reads, “Is the Boss Metal Zone that bad?” But its flexible EQ and gnarliness when provoked are what attract players such as Neil. Don’t take it from us – take it from the major players who actually use it! Both as a cause and effect of the MT-2’s notoriety, a number of major players use it or have used it in their setups. Whether for a novelty screaming distortion or as a pivotal live rig component, the Metal Zone always finds a place. Here’s a handful of notable users: The Metal Zone might not be a cultural totem for the underground in the same way that the HM-2 Heavy Metal became. ‘HM-2 bands’ became a colloquialism for any extreme metal bands mining the old Sunlight Studio sounds for old-school death metal revivalism or for injecting some venom into d-beat, hardcore and grindcore sounds.

This cookie stores user-like settings for the chat system provider, which are required for our online chat service. Trusted Shops Three-band active EQ with semi-parametric midrange provides intense sound customization with up to 15 dB boost/cut on each band Dan Donegan, Disturbed – another example of great use of the Metal Zone’s powerful EQ. Donegan rolls off the low end and tweaks the mids for a lo-fi radio sound, perfect for song intros and instrumental breaks. You also might be surprised to learn that none other than Prince got crazy with the MT-2 as it found its way onto his pedalboard in the mid-’90s. Additionally, Warren Haynes of Allman Brothers Band fame is purported to have used the Metal Zone in his live rig. The MT-2 has a dual-stage gain circuit to get a decent amount of distortion,” says Ikegami. “But if this circuit [is] only boosting the gain, it will make the distortion sound from an amp muddy and not smooth.

Note that I also included the Boss SD-1 Super OverDrive Keeley Ge (Germanium) 5-Star Mod as a Bonus Round - it’s still right up there, but not quite of the status of the other 3 - and I could not readily find any kind of obvious or even vaguely matching mini alternative - I could have maybe gone with the new MXR Mini Timmy (also with asymmetrical clipping) - but I feel that it is its own thing really - and I don’t feel it entirely fair to associate obviously branded pedals with each other unless they are intentional clones or alternatives.The Boss MT-2 Metal Zone is one of the most famous guitar pedals ever to be released. Since its original release in 1991, Boss has sold over a million units - and counting. For over 30 years, the MT-2 is the undisputed king of high gain distortion.

Ikegami believes that this flurry of YouTube content, not to mention the endless online chatter, has cemented the MT-2’s standing. Which brings us on to the final piece of the puzzle – EQ. The reason that the 5150, JCM800 or Mesa Mark series have become classic metal amps is their EQ profile. Not only is the profile, or voicing, of an amp or pedal important, but also what control the player has over the EQ. How we choose products

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That said, it was brought into this world for high-gain tones, its semi-parametric three-band EQ allowing you to set the mids anywhere between 200 Hz and 5 kHz and then apply up to +15 dB boost or cut. Dialing down the mids can work gangbusters for high-gain metal tones – particularly if you were the only guitar player in the band. I tried every distortion pedal on the market and every time I heard the sound that excited me, it was the Metal Zone! Simon Neil, Biffy Clyro The dual-stage gain circuit of the Boss Metal Zone relies on two serially arranged distortion circuits with elaborate filtering that promise distinctive distortion. Depending on the position of the gain control, the MT-2 from Boss delivers a dense overdrive or an aggressive high-gain distortion with endless sustain.