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In 1973, Roland released the RE-100 and RE-200 tape delay units, which used a short 1/4" tape loop. [1] In 1974, Roland released the first Space Echo units in two models: the RE-101 and the RE-201, which also included spring reverb. [1] Instead of the tape reel used in previous tape echo units, the Space Echo uses a free-running tape transport ...
Within these, the standard arrangement is for the lowest sounding stops (32 ft or 16 ft) to be placed at the bottom of the columns, with the higher pitched stops placed above this, (8 ft 4 ft, 2 2 ⁄ 3 ft, 2 ft, etc.); the mixtures are placed above this (II, III, V, etc.). The stops controlling the reed ranks are placed collectively above ...
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]
Download as PDF; Printable version; ... Apache-2.0 3-4: LGPL-2.1-or ... application written in C++ in the Qt framework. REAPER: Linux, macOS, Windows: Proprietary:
Download as PDF; Printable version; ... and time-based units (delay/echo ... through the unit via a 1/4" patch cable. These pedal-style tuners usually have an ...
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 Tone Bender MKII is a three transistor circuit [1] based on the MKI.5 version, but with an additional amplifier gain stage. Sola Sound produced the circuit for Vox (who sold their version as the "Vox Tone Bender Professional MKII"), [5] Marshall (who sold their version as the "Marshall Supa Fuzz"), [6] and Rotosound (who sold their version as the "RotoSound Fuzz Box". [7]
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 ...