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We’ve just come out with an, and at the top of the heap is the, rated at 5 stars with over 750 reviews! Reading some of our customers’ reviews on this definitive distortion pedal brought on a wave of nostalgia, and now, as the pedal is set to turn 25 years old this year, we thought it was due for a retrospective. The Origin Story Before the MT-2, there was the HM-2. Released in 1983, the HM-2 Heavy Metal was Boss’s first foray into the high-gain distortion pedal world, and quite possibly the first ever high-gain pedal. With a bit of savvy timing, the HM-2’s release came at a critical time in rock history: arena rock, hair metal, and British heavy metal were selling millions of records and selling out stadiums. Meanwhile, thrash was just appearing at the horizon on the West Coast, as Metallica would release their first record, Kill ‘Em All, that year.

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But the HM-2 wouldn’t find its core audience on the Sunset Strip, nor in the stadiums. Rather, it was adopted as the champion pedal of European death metal, and was most closely associated with Swedish bands like Entombed. So why the love among the death squad? Apart from a copious amount of gain, the HM-2’s color mix section presented two knobs: (one labeled “L”) for boosting or reducing the low frequencies, and another labeled “H.” Some consider the “H” knob a misnomer, as it actually boost or cut midrange frequencies, rather than highs. When the midrange is cut, it produces what’s known as a “scooped” EQ, in which the high- and low-end of the mix are given a boost, while the low-end is drowned out. Add lots of gain, and you’ve got instant metal tone that accentuates the lows for chugging rhythms and the highs for screaming leads. The HM-2 was available for seven years, carving its own legacy among metal heads and prompting Boss to make a few spinoffs, like the HM-3 Hyper Metal and the MZ-2 Digital Metalizer and imitators from other manufacturers along the way.

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In 1991 it was discontinued, and a new high-gain Boss pedal would take the throne. Enter the Metal Zone In 1991, the state of music was entering another era. Heavy metal had enjoyed a long reign and had successfully conquered mainstream culture through the likes of MTV’s Headbanger’s Ball. Thrash was also approaching its zenith, as Metallica released their biggest-selling album, Metallica, or The Black Album, (call it what you will!) in 1991. It was also the year of the thrash/hip-hop mashup “Bring Tha Noise,” which saw Anthrax jamming with Public Enemy. Yet things were about to wildly change: the biggest rock album released that year, Nevermind, by Nirvana, along with other watershed records like Pearl Jam’s Ten, My Bloody Valentine’s Loveless, The Smashing Pumpkins’ Gish, would put metal’s reign on very shaky ground.

It was during this time that Boss discontinued its HM-2 Heavy Metal, and introduced guitarists to the MT-2 Metal Zone. Adapted from the HM-2, the Metal Zone offers the same level and gain controls, with perhaps a tad less gain on tap, but still a whopping amount. Gone are the “H” and “L” controls, replaced with “High,” “Mid” and “Low” +/-15dB boost and cut knobs, making for a true 3-band EQ. What really sets the Metal Zone apart is its mid-frequency control knob, which lets players define where in the EQ spectrum between 200hZ and 5khZ would be most impacted by their adjustment of the mid boost/cut knob. This offers a nice bit of subtlety and player customization over what was otherwise an anything-but-subtle effect. As metal went underground through much of the ’90s and beyond, the MT-2 retained a dedicated following among metal heads, and still appealed to those who craved high-gain tones.

As Metallica cut their hair and grunge (together with less-desirable offspring like post-grunge and nu-metal) ruled the airwaves, metal devotees found refuge underground in genres like hardcore, progressive and alternative metal, and the Metal Zone was there with them. Imitation is the most metal form of flattery It’s no secret that pedal manufacturers are constantly inspired by and tweaking upon the innovations of others. Through the years, the Metal Zone has proven itself a pedal worth building upon.

For the gripes some players have with its tone, the MT-2 sure has inspired plenty of pedals, like Digitech’s Metal Master,, and, among many others.There have been tweaks and mods by the likes of Robert Keeley and scores of amateur DIY mod kits available. The Metal Zone is represented in tons of digital models on multi-effects pedals and guitar software. All this emulation is evidence that the Metal Zone has earned its place alongside some of the most storied effects pedals in history. Maybe the Metal Zone’s longevity is due in part to its name. It isn’t often that a manufacturer slaps the name of a genre on a piece of gear. DOD came out with the Grunge and Death Metal distortion pedals (later re-released by DigiTech) and there is the amp, but examples of this are few and far between.