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By rolling the volume knob, the guitar player can decrease the gain of the pedal and get a clean or crunch sound, while still having all the gain when the volume knob is on maximum. [ clarification needed ] For the same reason, Fuzz Face pedals react differently when placed directly after the guitar than when after other pedals or after a ...
The Big Muff Pi (π), often known simply as the Big Muff, is a "fuzzbox" effects pedal produced in New York City by the Electro-Harmonix company, along with their Russian sister company Sovtek, primarily for use with the electric guitar. It is used by bassists as well, due to the Big Muff's squeaky frequency response.
The top panel was labeled with Pro Co Sound "The RAT" and the three control knobs as Distortion, Tone and Volume. Between 1979 and 1980 there were several cosmetic changes to the pedal as Pro Co worked to source knobs and print the labels on the pedal, but the circuit remained largely unchanged. In 1981 the Rat saw its first circuit change.
The Klon Centaur is an overdrive pedal made by the American engineer Bill Finnegan between 1994 and 2008. Finnegan aimed to create a pedal that would recreate the harmonically rich distortion of a guitar amplifier at a high volume. Finnegan struggled to meet demand, and used units sold for inflated prices.
The AX80 used digitally controlled oscillators (DCO) [1] [3] [4] and filter circuitry based on the Curtis Electronics CEM 3372 integrated circuit. It was marketed as part of a line of project studio equipment called the Akai Music Studio System, which included the S612 digital sampler the MR16 drum machine, the MS08 sequencer, and the MG1212 ...
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.
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The Dolce Campana pedal pianoforte c. 1850, built by Boardman and Gray, New York, demonstrated yet another creative way of modifying the piano's sound. A pedal controlled a series of hammers or weights attached to the soundboard that would fall onto an equal number of screws, and created the sound of bells or the harp. [18]
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