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The History of Flanging…..

flanger2The History of Flanging….. – How did the classic airplane whooshing sound begin, it has been around since Sgt Peppers so it wasn’t like some made scientist was sitting around and cranked out a guitar pedal that made the Flanger effect. Things where much more simple, and creativity was at an all time high, so it was created in the studio by some some VERY experimental hippie engineers.
Technically the audio effect is by having two identical tracks or sounds that are played or played back and delaying one of the signals somewhere around 20 milliseconds. Varying the the time delay gives it the whoooshing sound. We then take part of the output and feed it back into the input which is called a re-circulating delay line. This intensives the flanging sound, you can invert the phase here and you get more sounds. Delaying, flipping, re-circulating your really playing with time. Mmmm pretty trippy. Classic flanging tones and panning in stereo and your in business.

So no pedals, no rack gear, it’s 1969 how did they get the sound. A lot of work that’s how, you would record a spoken word phrase, guitar track, drum toms on one mono track reel to reel recorder. You then record the exact passage to ANOTHER reel to reel deck so now you have TWO decks ready to play with the same passage. You set them to play exactly at the same time, and as they play you drag your fingers on the “FLANGE” of the reel of tape. That’s the delay the drag of your fingers delayed it mmm 20 mS – more and less you got whoosh. Pretty much that’s how Flanging was invented !

So the audio effect is invented, and now guy smoke some weed and dissect what is exactly going on in the time realm. Then some smart electronic stoners (David Tarnowski at ADA) sit down and work it out in electronics. Here comes the ADA, MXR, Eventide, Boss, Ibanez flangers in the 70s and rest is Police guitar pedal history !

Play on !

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Tubescreamer History TS808 and TS9 Guitar Pedals


Tubescreamer History TS808 and TS9 Guitar Pedals – You have probably read, seen, heard, talked about this many times but it’s always fun to chat quickly about Tubescreamer history and lore ! The real reason these pedals are so important is because up till now most guitar pedals that where produced where fuzz typle pedals. The overdrive pedal was pretty slim, yes you had the Colorsound Overdriver but reallllly that’s a fuzz pedal with a lot of output that overdrived your amp. Around the mid-70s we start to see the influx of overdrive and distortion pedals from Ibanez, MXR, and Boss as they first appeared on the scene. The first Ibanez models ODII and OD505 where a bit more distorted and fuzzier than the OD808 to come that’s why it became a classic. Players really wanted a pedal that simulated a cranked up amp and that’s what the 808s did. In their lime green paint job and square chrome on off switch these Japanese produced OD pedals with the JRC4558 opamp chip was just what guitar players wanted ! Dependable, cheap, overdrive sound in a box. You could take a clean amp and make it dirty, remember there is no channel switching amps yet, Boogie was still on the drawing board. Or you could take a mild overdriven amp and make it a monster with basic overdrive stacking. Players loved it, Stone’s sound, SRV sound, Beck sound all in a little box ! They sold the hell out of the TS808 from 1978 to mm about 1982 when the new model appeared.

The TS9 series Overdrive pedal was same lime green paint, the on/off switch was now bigger and more pronounced. The layout was pretty much the same, the circuit was the same EXCEPT the output section was beefed up to give a wee bit more output and treble. This gave it a slightly heavier sound than the early 808 and the times changed players loved the heavier raspy sound sound. They still used JRC4558 chip, it was VERY similiar. Now in both models there are exeptions in the chips, they put in different chips every so often, but NONE sound better than the JRC4558.

What’s the best, well you gotta try them. And then you can debate them as the guitar population has for 35 years !

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MXR E300 Digital Reverb Guitar Pedal

e304MXR E300 Digital Reverb Guitar Pedal - The MXR E300 is a new reverb guitar pedal from MXR that is just so impressive in it’s true studio and guitar amp spring reverb sounds its pure guitar tone. So you have the old fashion spring reverbs which can make any dry amp sound like a vintage blackface Fender twin or deluxe reverb. But you also get these modern and vintage studio sounds to give your guitar tone this polished album sounding tone. You want caverns, you want vintage club hall sound, you want a HUGE plate sounds. It’s all included in this MXR E300 guitar pedal, watch the video ! The MXR Reverb delivers six distinct high end reverb styles, each exquisitely crafted and tuned by the award-winning MXR design team. It all comes in a standard-sized MXR box with a simple three-knob setup and a hi-fi analog dry path with a massive 20 volts of headroom thanks to Constant Headroom Technology. Each reverb style is as richly detailed as any found in the highest-end rack units and plug-ins, and all you have to do to step through them is push the Tone knob. Goto Product

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ADA PBF Flanger Guitar Pedal

pbf7ADA PBF Flanger Guitar Pedal – PBF what the heck does that stand for ? Pedal Board Friendly ! The classic flanger was probably the finest flanger ever made by the insane and talented David Tarnowski but it was size of a small child and had no LED. The PBF is a modern take on this pedal but much smaller for your pedal board ! So now there are no excuses get one today, maybe 2 ! It would still be smaller than the old classic ! Click To Go

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pedals5fbWHAT DO WE WANT IN AN OVERDRIVE PEDAL ? – You could actually put this argument or discussion to any guitar pedal in which we find ourselves searching for. What is it we want and what are the factors in determining the one for us, you, the player, the person making the tone ! We could get to the gain, and the clarity, and the tone sculpting, but let’s get even deeper. What are we trying to do with it ? Are we trying to sound like one of our hero’s if so that’s easy to do some research and find what they used and evolved to throughout their careers. You can look on the old internet and find what Jimmy Page used almost to the pedal through the years, or maybe it’s Gary Clark that wah wah sound, or Joe Bonamassa that fuzz when you saw him at the Casino last year. Just do some research, you would be shocked what you can learn and not learn. Also DO NOT GO by the John Doe model 9 out of 10 times that’s not what your favorite guitar player use on stage OR not on the album 10 years ago you love.

Next you can go to the genre of the music you play or what to play or want to master. If your a Metalica fan you want a high gain distortion pedal, if you like Robin Ford your not gonna want this pedal. Your gonna want a low gain boost transparent type pedal to get tone. After that maybe which I LOVE maybe you have a sound in your head, or want to be inspired this will take more work, and maybe some unfruitful purchases of guitar pedals. But man will this pay off in spades, you are on a journey to be YOU to be ORIGINAL ! So many times we are sent to buy product because we read it on some forum that everyone was buying Pedal 123, it’s the best, I sound like Guru X now.

You know what I love is the guy who doesn’t want to be Guru X, doesn’t want to follow the mass’s, he hears something or read something and wants the smokey, mid-rangey, saggy, slightly heavy gain pedal. Boom your down to 5 to 10…and now look at features, builders, price and your ready to Guru Y.

Always in Search of Tone, Play Music – Don’t Talk Play !

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