Echoplex

This article is about the sound effect machine. For the music venue in Los Angeles, see Echoplex (venue). For the concept in computer telecommunications, see echo (computing). For the Nine Inch Nails song, see The Slip (album).
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."[2] Used by some of the most notable electric guitar players of the 1960s and 1970s, original Echoplexes are highly sought after.

Background

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Tape echoes work by recording sound on a magnetic tape, which is then played back; the tape speed and distance between the recording and playback heads determine the delay time, while a feedback variable (where the delayed sound is fed back into the input) allows for multiple echoes.[3] The predecessor of the Echoplex was a tape echo designed by Ray Butts in the 1950s, who built it into a guitar amplifier called the EchoSonic. Butts built fewer than seventy EchoSonics for guitarists including Chet Atkins, Scotty Moore, and Carl Perkins.[4] Mike Battle later copied Butts' tape echo and built it into a portable unit;[5] another version of the story holds that Battle based his design on one by Don Dixon.[2]

Tube Echoplexes

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According to Battle, "We sold the first 500 units to C.M.I. in Chicago in 1959. The Echoplex was sold through Chicago Musical Instruments, CMI."[6] The main innovation of the Echoplex was a moving record head, which allowed for variable delay time without changing the tape speed. In 1962, their patent was bought by Market Electronics of Cleveland, Ohio. Market Electronics built the units and kept designers Battle and Dixon as consultants; they marketed the units through distributor Maestro. In the 1950s, Maestro was a leader in vacuum tube technology. It had close ties with Gibson, and often manufactured amplifiers for Gibson. Later, Harris-Teller of Chicago took over production.[2]

The first tube Echoplex units had no numerical designation, but this model was retroactively designated the EP-1 after the first revision was dubbed the EP-2.[1] These two units were noted for their "warm, round, thick echo" and the sound quality of the tube preamplifier section.[7][8] Two of Battle's improvements over earlier designs were key: the adjustable tape head and a cartridge containing the tape, protecting it to retain sound quality.[2]

While Echoplexes were used mainly by guitar players (and the occasional bass player, such as Chuck Rainey,[9] or trumpeter, such as Don Ellis[10] or Miles Davis),[11][12] many recording studios also used them.[13]

Solid-state Echoplexes

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EP-3

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Market Electronics held off on using transistors while other companies made the transition. Nevertheless, in the late 1960s they set Battle and Dixon to the task of creating the first transistorized Echoplexes. Once the two were satisfied, the solid-state Echoplex was offered by Maestro[7] beginning in 1970 and designated the EP-3; Battle, unhappy with the sound of the EP-3, sold his interest in the company.[1] The EP-3 offered a sound-on-sound mode and a number of minor improvements. The EP-3 enjoyed the longest production run of all the Echoplex models, being manufactured until 1991. Around the time of the public introduction of the EP-3, Maestro was taken over by Norlin Industries, then the parent company of Gibson.[2]

EP-4

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EP4

In the mid-1970s, Market created an upgrade to the EP-3, designated the EP-4, adding features such as an LED input meter, an output buffer, and tone controls, and dropping the sound-on-sound feature. A compressor board based on the CA3080 transconductance amplifier was added to the record circuit of both the EP-3 and EP-4 models for a short while after the EP-4 model was introduced, but later dropped from both.[14]

Battle's final work with Market yielded the EM-1 Groupmaster, which offered a four-channel input mixer section and a mono output section. Dissatisfied with the direction Maestro was taking, Battle left the company.[2]

End of tape echo production and subsequent use of the brand

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Gibson Echoplex Digital Pro

At the end of the 1970s, Norlin folded and their Maestro brand and Market Electronics was forced to find another distributor for their products. They found that distributor in Harris Teller, a Chicago musical wholesaler. Units built for Harris Teller carried an Echoplex badge that omitted the Maestro name. In 1984, Harris Teller bought out the Echoplex name and the remaining stock of Echoplex parts from Market Electronics. Harris Teller used the back stock to assemble reissues of the EP-3 and EP-4 as well as the EP-2, which was designated the EP-6t. In 1991, the thirty-year run of tape Echoplex production finally came to an end. The Echoplex brand was purchased by Gibson later that decade and applied to a line of digital looping delays,[15][16] one of which was sold under the Oberheim brand as the Echoplex Digital Pro.[17]

As of 2019, Echoplex is a trademark of Dunlop Manufacturing,[18] which uses it for a digital delay pedal that emulates the sound of tape Echoplexes.[19] Dunlop also manufactures FET-based preamplifier pedal modeled on the EP-3's preamplifier.[20]

Notable users

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See also

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References

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  1. ^ a b c d e Cleveland, Barry (August 2008). "Passing Notes: Mike Battle". Guitar Player. 42 (8): 60.
  2. ^ a b c d e f Dregni, Michael (July 2012). "Echoplex EP-2". Vintage Guitar. pp. 54–56.
  3. ^ Milano, Dominic (1988). Multi-Track Recording. Hal Leonard. p. 37. ISBN 978-0-88188-552-1.
  4. ^ Hunter, Dave (April 2012). "The Ray Butts EchoSonic". Vintage Guitar. pp. 46–48.
  5. ^ Hunter, Dave (2005). Guitar rigs: classic guitar & amp combinations. Hal Leonard. p. 54. ISBN 978-0-87930-851-3. Retrieved 11 February 2012.
  6. ^ "Interview with Mike Battle - Inventor of the legendary Echoplex tape delay". Looper's Delight. LD> When did the first Echoplex units reach the market? How many were made in the early years? / MB> We sold the first 500 units to C.M.I. in Chicago in 1959. The Echoplex was sold through Chicago Musical Instruments, CMI.
  7. ^ a b Hunter, Dave (2004). Guitar effects pedals: the practical handbook. Hal Leonard. pp. 77–78. ISBN 978-0-87930-806-3.
  8. ^ Hunter, Dave (2005). Guitar rigs: classic guitar & amp combinations. Hal Leonard. p. 55. ISBN 978-0-87930-851-3.
  9. ^ Friedland, Ed (2005). R&B Bass Masters: The Way They Play. Hal Leonard. p. 19. ISBN 9781617745270.
  10. ^ A Short History of Jazz. Rowman & Littlefield. 1993. p. 200. ISBN 9780830415953.
  11. ^ Carter, Ron; Terry, Clark; White, Lenny (2012). Miles Davis: The Complete Illustrated History. MBI. p. 150. ISBN 9781610586825.
  12. ^ Szwed, John (2004). So What: The Life of Miles Davis. Simon and Schuster. p. 288. ISBN 9780684859835.
  13. ^ Hurtig, Brent (1988). Multi-track recording for musicians. Alfred. p. 51. ISBN 978-0-88284-355-1.
  14. ^ Teagle, John (7 December 2004). "Echoplex: Roots of Echo, part IV". Vintage Guitar.
  15. ^ "Looping: A talk with Matthias Grob". Gibson News. Gibson Labs, Gibson Guitar Corporation. December 13, 2004. Archived from the original on June 22, 2011. Retrieved January 7, 2011.
  16. ^ Teagle, John (2004). "Roots of Echo Pt4". Vintage Guitar Magazine Online. 1 (1): 1. Archived from the original on 4 December 2008. Retrieved 7 December 2004.)
  17. ^ "NAMM '94 Report". Sound on Sound (March 1994).
  18. ^ "Trademarks". Jim Dunlop. Dunlop Manufacturing. Retrieved 10 March 2019.
  19. ^ "ECHOPLEX® DELAY". Jim Dunlop. Dunlop Manufacturing. Retrieved 10 March 2019.
  20. ^ "ECHOPLEX® PREAMP". Jim Dunlop. Dunlop Manufacturing. Retrieved 10 March 2019.
  21. ^ Gress, Jesse (April 2007). "10 Things You Gotta Do to Play Like Duane Allman". Guitar Player. pp. 110–17.
  22. ^ Molenda, Mike; Les Paul (2007). The Guitar player book: 40 years of interviews, gear, and lessons from the world's most celebrated guitar magazine. Hal Leonard. p. 187. ISBN 978-0-87930-782-0.
  23. ^ Méndez, Antonio (2007). Guía del pop y el rock, años 60: aloha PopRock. Editorial Visión Libros. p. 411. ISBN 978-84-9821-569-4.
  24. ^ Ross, Michael (1998). Getting great guitar sounds: a non-technical approach to shaping your personal sound. Hal Leonard. p. 45. ISBN 978-0-7935-9140-4.
  25. ^ Blackett, Matt (October 2004). "The 50 Greatest Tones of All Time". Guitar Player. 38 (10): 44–66.
  26. ^ Newquist, H.P.; Rich Maloof (2004). The new metal masters. Hal Leonard. p. 70. ISBN 978-0-87930-804-9.
  27. ^ Carr, Ian (1999). Miles Davis: the definitive biography. Thunder's Mouth Press. p. 261. ISBN 978-1-56025-241-2. Retrieved 5 February 2010.
  28. ^ Foley, Michael Stewart (2015). 33 1/3 Series - Fresh Fruit for Rotting Vegetables. Bloomsbury Publishing. p. 55. ISBN 9781623562441.
  29. ^ Yurochko, Bob (2001). A Short History of Jazz. Rowman & Littlefield. p. 175. ISBN 978-0-8304-1595-3.
  30. ^ Timm, Larry M. (2003). The soul of cinema: an appreciation of film music. Prentice Hall. p. 228. ISBN 978-0-13-030465-0.
  31. ^ Cramer, Alfred W. (2009). Musicians and Composers of the 20th Century-Volume 2. Salem Press. p. 514. ISBN 978-1-58765-514-2.
  32. ^ Giammetti, Mario (2004). Genesis: Il fiume del costante cambiamento. Editori Riuniti. p. 336. ISBN 88-359-5507-6.
  33. ^ Prown, Pete; Lisa Sharken (2003). Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players. Hal Leonard. p. 20. ISBN 978-0-87930-751-6.
  34. ^ Fischer, Peter (2006). Masters of Rock Guitar 2: The New Generation, Volume 2. Mel Bay. p. 67. ISBN 978-3-89922-079-7.
  35. ^ "John Martyn Biography". AllMusic. Retrieved 2009-11-09.
  36. ^ a b c Campion, Chris (2009). Walking on the Moon: The Untold Story of the Police and the Rise of New Wave Rock. John Wiley and Sons. p. 62. ISBN 978-0-470-28240-3.
  37. ^ Gress, Jesse (February 2011). "10 Things You Gotta Do To Play Like Steve Miller". Guitar Player. pp. 75–88.
  38. ^ Prown, Pete; Lisa Sharken (2003). Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players. Hal Leonard. p. 10. ISBN 978-0-87930-751-6.
  39. ^ Friedland, Ed (2005). The R&B Bass Masters: The Way They Play. Hal Leonard. pp. 17, 19. ISBN 978-0-87930-869-8.
  40. ^ Gress, Jesse (May 2009). "10 Things You Gotta Do to Play Like Randy Rhoads". Guitar Player. 43 (5): 98–105.
  41. ^ Prown, Pete; Lisa Sharken (2003). Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players. Hal Leonard. p. 68. ISBN 978-0-87930-751-6.
  42. ^ Marshall, Wolf (April 2010). "Fretprints: Neal Schon". Vintage Guitar. 24 (6): 66–70.
  43. ^ Chambers, Jack (1998). Milestones: the music and times of Miles Davis. Da Capo. p. 203. ISBN 978-0-306-80849-4.
  44. ^ Newquist, H.P.; Rich Maloof (2004). The hard rock masters. Hal Leonard. pp. 31, 34. ISBN 978-0-87930-813-1.
  45. ^ Gill, Chris (March 2007). "Some Kind of Monster". Guitar World. 28 (3): 56–62, 104. ISSN 1045-6295. Retrieved 2009-09-28. [dead link]
  46. ^ Crockett, Jim (October 1972). "Joe Walsh, a Pro Replies". Guitar Player. p. 6.
  47. ^ "Ten Things You Gotta Do to Play Like Joe Walsh". Guitar Player. Retrieved 2010-03-24.
  48. ^ "Low-End Loop Master". Premier Guitar. Retrieved 2012-02-17.
  49. ^ Obrecht, Jas (March 1992). "Neil Young's Guitar Equipment". Guitar Player. Retrieved 2012-08-13.
  50. ^ "Proceed With Caution-Built to Spill Frontman Doug Martsch Lets a Little Digital Into His Life". keyboardmag.com. Keyboard Magazine. Retrieved 20 April 2020.
  51. ^ https://www.waxpoetics.com/connections/new-york-djs/article/kool-dj-herc-vs-pete-dj-jones/ [bare URL]
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