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Echoplex EP-2. The Echoplex is a tape delay effects unit, first made in 1959.Designed by engineer Mike Battle, [1] the Echoplex set a standard for the effect in the 1960s; according to Michael Dregni, it is still regarded as "the standard by which everything else is measured."
The original Space Echo units contain a single recording head and three playback heads. [1] The combination of tape heads is controlled with a rotary knob. [2] Users may adjust the bass and treble levels on the output sound, the number of echo repeats, the length of each echo, and the ratio of the echo and reverb sounds. [1]
The console of the Wanamaker Organ in the Macy's (formerly Wanamaker's) department store in Philadelphia, featuring six manuals and colour-coded stop tabs. The pipe organ is played from an area called the console or keydesk, which holds the manuals (keyboards), pedals, and stop controls. In electric-action organs, the console is often movable.
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Pedal-style multi-effects range from fairly inexpensive stompboxes that contain two pedals and a few knobs to control the effects to large, expensive floor units with many pedals and knobs. Rack-mounted multi-effects units may be mounted in the same rack as preamplifiers and power amplifiers.
A few of the bass pedals designed to be used with electronic or clonewheel organs have features that operate the upper manual keyboards, such as an expression pedal or swell pedal, which is a treadle-style potentiometer for controlling the volume; buttons to turn on or change the speed of a Leslie speaker, a rotating horn speaker in a cabinet; or program change buttons, which send a MIDI ...
The first use of pedals on a pipe organ grew out of the need to hold bass drone notes, to support the polyphonic musical styles that predominated in the Renaissance. Indeed, the term pedal point, which refers to a prolonged bass tone under changing upper harmonies, derives from the use of the organ pedalboard to hold sustained bass notes. [2]
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 ...