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{"id":6866833342639,"title":"MXR Model 126 Analog Studio Flanger \/ Doubler","handle":"mxr-model-126-analog-studio-flanger-doubler","description":"\u003cp class=\"p2\"\u003e\u003cstrong\u003eThe infamous MXR M126 used in many recording and by many top artist and producers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eUsing bucket-brigade chips, engineers were able to simulate a doubling technique by slightly delaying the input signal, then playing it back in concert with the original. It’s a simple enough task, but the implementation requires a deft hand and plenty of processing. The 126 uses two BBD devices, the well-trodden Reticon SAD1024 and the much more mysterious Reticon R5101 chip, for which no datasheet seems to exist. It is the mystique of this chip that makes modern reproduction of the juicy Doubler circuit impossible. That hasn’t stifled demand for the old units, however. And because automatic doubling is such a studio life raft, MXR’s 126 saw plenty of use on everything from drum tracks to synthesizers, and still does.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAs for the Flanger side, the 126’s architecture has much more room for precise bipolar bias voltages, and MXR’s crew had much more real estate to make a superior flanger to the 117 that already existed in stompbox format. While the controls are nearly identical, the flanging itself was extremely juicy and may be one of the finest examples of the effect that has ever been released.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis is responsible for the high prices of the unit—that and the host of famous players that have made use of them over the years, including Eric Johnson, Zakk Wylde and Eddie Van Halen. While those two players made great use of the Flanger side, it was Dimebag Darrell that sent prices shooting up even more. He put the 126 into Doubler mode and never turned it off. 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class=\"p2\"\u003e\u003cstrong\u003eThe infamous MXR M126 used in many recording and by many top artist and producers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eUsing bucket-brigade chips, engineers were able to simulate a doubling technique by slightly delaying the input signal, then playing it back in concert with the original. It’s a simple enough task, but the implementation requires a deft hand and plenty of processing. The 126 uses two BBD devices, the well-trodden Reticon SAD1024 and the much more mysterious Reticon R5101 chip, for which no datasheet seems to exist. It is the mystique of this chip that makes modern reproduction of the juicy Doubler circuit impossible. That hasn’t stifled demand for the old units, however. And because automatic doubling is such a studio life raft, MXR’s 126 saw plenty of use on everything from drum tracks to synthesizers, and still does.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eAs for the Flanger side, the 126’s architecture has much more room for precise bipolar bias voltages, and MXR’s crew had much more real estate to make a superior flanger to the 117 that already existed in stompbox format. While the controls are nearly identical, the flanging itself was extremely juicy and may be one of the finest examples of the effect that has ever been released.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThis is responsible for the high prices of the unit—that and the host of famous players that have made use of them over the years, including Eric Johnson, Zakk Wylde and Eddie Van Halen. While those two players made great use of the Flanger side, it was Dimebag Darrell that sent prices shooting up even more. He put the 126 into Doubler mode and never turned it off. Ever.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent, it was just used in the studio over the weekend. It does have a few small scratches but nothing major. \u003c\/p\u003e"}

MXR Model 126 Analog Studio Flanger / Doubler

Product Description

The infamous MXR M126 used in many recording and by many top artist and producers

Using bucket-brigade chips, engineers were able to simulate a doubling technique by slightly delaying the input signal, then playing it back in concert with the original. It’s a simple enough task, but the implementation requires a deft hand and plenty of processing. The 126 uses two BBD devices, the well-trodden Reticon SAD1024 and the much more mysterious Reticon R5101 chip, for which no datasheet seems to exist. It is the mystique of this chip that makes modern reproduction of the juicy Doubler circuit impossible. That hasn’t stifled demand for the old units, however. And because automatic doubling is such a studio life raft, MXR’s 126 saw plenty of use on everything from drum tracks to synthesizers, and still does.

As for the Flanger side, the 126’s architecture has much more room for precise bipolar bias voltages, and MXR’s crew had much more real estate to make a superior flanger to the 117 that already existed in stompbox format. While the controls are nearly identical, the flanging itself was extremely juicy and may be one of the finest examples of the effect that has ever been released.

This is responsible for the high prices of the unit—that and the host of famous players that have made use of them over the years, including Eric Johnson, Zakk Wylde and Eddie Van Halen. While those two players made great use of the Flanger side, it was Dimebag Darrell that sent prices shooting up even more. He put the 126 into Doubler mode and never turned it off. Ever.

Condition: Excellent, it was just used in the studio over the weekend. It does have a few small scratches but nothing major. 

$1,799.99
Maximum quantity available reached.