MXR M117R Flanger Guitar Effects Pedal

From 3:18 to 3:26 the MXR Flanger Guitar Effects Pedal can be seen in the foreground on a mic stand. It's the setup Smith inherited from McGeoch when assuming his place in Siouxsie and the Banshees per [this *Guitar World* article](http://www.thecure.cz/resources/PRESS/USA/19960600.guitarworld.us-052.jpeg). Robert says in this article "It was a lot more interesting the second time I played with the Banshees and inherited John McGeoch's setup. (McGeoch has also played with Magazine, Visage and P.I.L.) He had an old MXR Flanger mounted on a mike stand."

"By popular demand… My pedal board! Designed by the illustrious Sean Cox!"

In this video, at 0:16, an MXR Flanger pedal can be seen on Ed's pedalboard.

As can be seen at the guitargeek.com source, the MXR Ten Band Graphic Equalizer was used by Randy Rhoads.

What's in the large console you use on stage? It looks very complex. "Well, actually it's not all that complex. It's a little rough to maintain. Things can get broken where it's shipped around. It's got a pair of Dynaflangers, a pair of MXR Flangers. It's got one input and four outputs – two dirty outputs and two clean outputs, all stereo. There's also two Big Muffs, Systec Harmonic Energizer – all these things are in pairs – Oberheim ECF, Eventide Harmonizer, MXR DBL, Mutron, DBX 162 compressors, Gain Brains, Kepexes, a Theremin and a Biphase. That's about it, and there's about 24 switches on the floor. I add to it every year. The Dynaflangers are on the newest thing. Oh yes, there's a Mutron Octivider and a DBX Boom Box. " - From the Guitar Player Magazine in 1979 (May-June), written down in the Zappa Wiki "Wiki Jawaka"

During an interview w/ Premier Guitar for their Rig Rundown series an MXR Flanger can be seen [@ 11:10] on Kerry Kings pedal board.

Before the Memory Man

In [this interview](http://www.premierguitar.com/articles/20889-the-war-on-drugs-driving-music-for-the-american-dreamscape?page=2) with Premier Guitar, the MXR Flanger Guitar Effects Pedal is listed as part of Adam Granduciel's effects.

This [article](http://www.geocities.ws/jendave/art_musician_rude_boys.html) states that Mick used "a brace of" MXR effects from 1980 onwards, including the MXR Flanger. Can be heard on 'Charlie Don't Surf' (1980).

Picture of Shaun's Pedal board, the MXR Flanger has the tape that says "FLANGE" on it

"MXR flanger made famous by EVH."

John talks about his MXR pedals in this November 1986 issue of *Guitarist* Magazine. "All the effects are MXR except the Overdrive. I use an MXR rack compressor/limiter which isn't here at the moment. It's so good that our sound guy knicked it and put it on the PA and I haven't got it back yet! Two Flangers, so I can have them at two different settings..."

"Anthony uses a small selection of pedals: an MXR Stereo Chorus, MXR Flanger, and MXR Bass Octave Deluxe, powered by a DC Brick Multi Power Supply. He also uses a Boss TU-1000 tuner (not pictured)."

Featured in this Instagram post by Larson.

Tim uses an MXR Flanger, according to [this](http://www.guitargeek.com/tim-mahoney-311-guitar-rig-and-gear-setup-2009/) rig diagram by Guitar Geek.

Band members' equipment lists

"Typically, I play straight with a touch of delay, but I sometimes use an MXR Flanger"

This article giving details of Adamson's pedalboard states that he used this effect.

The final effect that Kaoru uses is a flanger by MXR. Taken from the Dir En Grey website.

For more movement in the sound, Hammer used a slight bit of flanging, coming from an MXR black-face pedal (now reissued by Dunlop).

At 5:46 the MXR Flanger is shown.

“I played acoustic for the first time – a J-200 on the intro and outro of ‘All Of This And Nothing’ – but my main guitar was a Music Man Sabre II. I put a Les Paul pickup in the neck and a Bill Lawrence in the bridge, and cranked it up through a baby Vox and a Pignose. Pedal-wise, I was using an MXR flanger, a Rat, a Roland Space Echo, delays and wah. I was always much more into effected-sounding lines than straight ones, and I used a lot of textures and volume pedal swells and some harmonics.”

"But yeah, I had a pedal drawer with a Tube Screamer and a Phase 90 and flanger. Terry Kath was very fond of the phase-shifter. I’ve become addicted to it myself."

"Analogue synthesizers have a big advantage: you can drill them open. (...) You can't do that with prefabricated software synthesizers." — DUB TAYLOR TECH TALK feature, taken from Slices Issue 1-09

Mentions he owns one, unclear whether he tours with it or uses it extensively in his setup