Billie Joe Armstrong’s guitar tone on Green Day’s groundbreaking album Dookie sounded dirty and punchy with the perfect amount of articulation to express the musicality of his fast, melodic riffs. He got that sound by running his signal through two heavily modified amplifiers—one scooped with a ton of gain and the other with a well-defined midrange. When it came time to mix the record, the band blended the two signals together in different ratios to match the vibe of each track. The MXR Dookie Drive Pedal captures the sound of both the amps used on that record in a single pedal so that you can dial in your own variations of the famous Dookie sound. The designers borrowed the amps themselves so that the MXR team could carefully analyze all the sonic qualities that make them sound so darn good. After much analysis and A/B testing, the engineers rebuilt the amps from scratch in pedal circuit form and fit them into a single housing. The High Gain and Crunch Gain sections each have their own controls, while the Blend control allows you to mix them together just like Green Day did in the studio. If you want some extra scoop in the midrange of the overall output signal, just hit the Scoop switch. The Dookie Drive isn’t just for Green Day fans—this totally unique pedal provides a full harmonic range of overdriven tones for a playing experience that is full of depth and dimension.
The MXR Timmy Overdrive provides a huge, responsive range of gritty and textured tones that enhance the sound of your rig while preserving its fundamental character—and in an MXR mini housing, this pedal will free up some serious pedalboard space. It’s based on a design created by veteran pedal builder Paul Cochrane that’s widely celebrated among high level pros, from first-call Nashville session player Kenny Greenberg to first call L.A. player Lyle Workman to rockstar Brad Whitford. When Paul decided to bring his pedal to a wider audience, he chose to work with the MXR design team. “It’s an honor to work with MXR,” Paul says. “My first ever pedal was a Phase 90.” Thanks to Paul’s inventive implementation of clipping options and tone controls, this pedal is a working guitar player’s dream come true. The Clip switch provides three different clipping styles that cover a multitude of playing situations, whether you need an always-on sound that’s big and bold with a ton of headroom to slam the front end of your amp, a more compressed and saturated sound for fat, gnarly chords, or anything in between. The Bass and Treble controls offer further refinement of your sonic profile. Firstly, they’re cut-only, keeping the character of your signal intact and making it super easy to dial in a clean boost. Secondly, Paul wired the the Bass control to affect your pre-OD signal so that you can your maintain low end at lower Gain settings and the Treble control to affect your post-OD signal so that you can adjust the top end to keep dirty settings smooth and musical. Finally, the MXR design team worked closely with Paul to select an op-amp that perfectly complements his expertly crafted design. They landed on the LF353, a trusty component well-respected by Dunlop engineers for providing high output, high gain, and hi-fi signal delivery. The resulting MXR Timmy Overdrive is a professional-grade must-have for players who want sweet, harmonic breakup that responds to playing dynamics and maintains the personality of your rig at a fraction of the size of a standard pedal.