Almost since musicians used tape recording, there are also reverse delays. Very early artists like the Rolling Stones or Jimi Hendrix experimented with this type of delay sounds. At those days, creating reverse delays was pretty complicated because the recording tapes had to be cut and played backwards. Continue reading “Reverse delays”
This is a stereo comparison of the Eventide H9 with the Source Audio Ventris.
gear: Fender Telecaster, Fender Tweed Champ, Celestion G12M, Shure SM57, Cubase.
In the 1980s, the first digital chips were used to produce delay pedals. The advantage was, that these racks and pedals were able to offer a longer delay time than the analog delays of those days and, at the same time, produced less hiss. Continue reading “Digital delays”
This is a comparison of the Eventide H9 Harmonizer with the Lexicon PCM 81 Reverb Hall Rack Effect.
gear: Fender Telecaster, Fender Champ, Celestion G12M Greenback, Shure SM57, Cubase.
For sonwriting it is extremely important to have a good working pedalboard with inspiring sounds.
Today I would like to introduce some ideas that might worth it to be taken into consideration if you are willing to create such a songwriting pedalboard. Continue reading “Tips & Tricks: Songwriting Pedalboard”
This is a comparison of the Montreal Assembly Count to Five with the Eventide H9 Harmonizer.
gear: Fender Jaguar, Fender Tweed Champ, Celestion G12M, Shure SM57, Cubase.
The first part of this series was about the Boss DD-20 and the Line6 DL4.
Both pedals have been the standard for a long time and still they are pretty popular.
But they have been replaced by technically extensive pedals of the next generation. Continue reading “Effect History: Multi Digital Delays (Part 2)”
It almost seems to be an article of faith and this is why I would like to illuminate this controversal issue. Continue reading “Analog pedals vs. digital emulations”
Expression-pedals, Midi, CV and Apps
The first pedal that could be controlled with an expression-pedal in real time was the Uni-Vibe. The advantage was that you could adjust the swiftness without taking the hands off the strings. Later this function could also be found in Auto-Wahs. In this way the pedal could be controlled just like a real Wah. Continue reading “How to control the parameters of a pedal”
This song is inspired by the sound of the new Eventide H9 Pitch Fuzz algorithm.