DRY controls the M-288’s unaffected level, while GROWL and GIRTH offer volume control over two different octave-down signals. The GROWL signal was edgier and brighter, with a more obviously synthed-out square-wave sound. GIRTH, on the other hand, was deeper and darker—its less colorful sound was better suited to subtler passages where overall low-end beefiness is desired, not tone-morphing tweakage. For more variety, the two sounds are blendable, and I’m happy to report that the MXR nails that drum & bass-worthy pure-octave tone that players like Tim Lefebvre and Steve Jenkins use to great effect. The MID+ button engages a boost that’s internally adjustable between 400–850Hz and variable from 4–14dB. It proved to be an excellent way to preserve presence and punch with the effect engaged, so I left it on mostly. Regardless of setting, the M-288 tracked very well. MXR contributes this solid performance to its “CHT” technology, which uses a voltage doubler circuit to increase operational voltage to 18 volts.
The MXR’s construction was solid, and its small footprint made squeezing it into my overcrowded pedalboard a cinch. On a dark gig, I dug the glow-in-the-dark lines and button. Overall, there’s nothing to fault with the MXR, and much to celebrate.
I used the M-288 on a crazy folk-fusion gig and absolutely loved it—the GROWL and MID controls were especially hip. —BRIAN FOX
MXR M-288
Street $150
Pros Excellent tracking with two distinct octave voices.
Cons None
Contact www.jimdunlop.com (707) 745-2722