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The technique is often executed using the guitar's volume knob. Beginning with the knob turned down to zero, it is increased when a note is played. The effect can also be performed by using a volume pedal. It is sometimes called "violining", because the sound is similar to a bowed violin. [1]
For example, on some lower- to mid-priced bass amplifiers, the only control on the audio compression effect is a button or switch to turn it on or off, or a single knob. In contrast, a pedal or rackmounted unit would typically provide ratio, threshold and attack controls or other options to allow the user additional control over the compression.
On the left hand side, the Pedal division is on the outside, with the Swell to the inside. Other divisions can be placed on either side, depending on the amount of space available. Manual couplers and octave extensions are placed either within the stop knobs of the divisions that they control, or grouped together above the uppermost manual.
Electro-Harmonix was founded by rhythm and blues keyboard player Mike Matthews in October 1968 in New York City with $1,000. [3] He took a job as a salesman for IBM in 1967, but shortly afterwards, in partnership with Bill Berko, an audio repairman who claimed to have his own custom circuit for a fuzz pedal, he jobbed construction of the new pedal to a contracting house and began distributing ...
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The NFL playoff schedule is about to be set, with the wild-card dates and times for every matchup to be revealed during Week 18.
On Cristofori's pianos, the una corda mechanism was operated by a hand stop, not a pedal. The stop was a knob on the side of the keyboard. When the una corda was activated, the entire action shifted to the right so that the hammers hit one string (una corda) instead of two strings (due corde). [3]