Sometime around 1975-76 I wanted an MXR Phase 90 for my Wurlitzer electric piano – I wanted what the ‘real’ keyboard players of the time were using. Instead, I bought the cheaper Electro-Harmonix Small Stone, believing it to be the poor man’s alternative. I was wrong.
That both effects have since become effects icons and remain in production today is a clue to just how wrong I was…
With the ambition of the first Leslie emulation pedals finally fulfilled, the story of the Shin-ei Uni-Vibe has come full circle. In its wake we have phasers, flangers and digital modelling pedals, each having taken their shot at replacing the Leslie loudspeaker cabinet and finding their own unique niches.
Common sense would have cast the Uni-Vibe aside somewhere along the way. But the final twist in the Uni-Vibe story is its own heritage.
My local pub has a split personality. Or, maybe, it’s more like a secret identity – a single location but with two roles in life.
For some of us, it’s a friendly place where we can go to talk, laugh and read, and with ready access to music for any occasion or discussion. For others, it’s a fully-fledged sports bar, with access to all the required TV channels, and comfortably more screens than it has walls. And that is where our story starts...
I once read that smell is our strongest associative sense. I’ve since tried to establish the relative ability of our other senses to evoke memories – most recently after hearing the award-winning Notes on Blindness discussed at The Sound of Story conference.
One of the film’s producers told the story of its making and its reliance on sound… but let’s start at the very beginning.
It seems to have become a common misconception that guitar fuzz boxes and distortion pedals predate more eloquent effects, such as phasing and flanging.
OK, tremolo and spring reverb were originally guitar amp features, and fuzz and distortion evolved from damaged loudspeakers, impedance mismatches and voltage sag. But effects that were developed in the recording studio are the result of earlier experimentation, exploration and serendipity.
If you count the green 1970s Carlsbro thing that’s presently in storage in a city 100 miles away, I’m now up to eight footpedal delay units. Before the Carlsbro there was a Watkins Copicat. I love my echoes...
Recently, it seemed the right time to sort all those boxes out – to decide what each was capable of and best at, and decide how to use them. It wasn’t long before it all got rather interesting.
Just a few days after the events in Brussels and in the wake of the killings at the Bataclan Theatre in Paris, an incident at a London venue went largely unreported.
A recent gig at London’s Roundhouse Theatre was interrupted by what was later to be reported as a ‘false fire alarm’. A first-hand report of the crowd management offers an insight into the practical considerations now surrounding security at entertainment venues.
The world of bootlegging music has come a long way since I bought my first illegal concert cassette from a Walsall market stall. Its lousy artwork, poor recording and incorrect song titles brought their own excitement to my record collection.
Back then, a bootleg of studio outtakes offered an insight into an artist or band that was beyond the control of a major record label, while a live recording was an open ticket to a unique live performance.
Sitting down to write this shortly after the deaths of Lemmy and David Bowie, I’m presented with yet more sad news. I can add Mott the Hoople drummer Buffin Griffin and Eagles front man Glenn Frey to the count of lost talent.
Tony Visconti has posted on Twitter: To the assholes who are saying they're dropping like flies, you nitwits, they are Dying Like Heroes! January seems like a very, very bad month for heroes.
Like a finely crafted sequel, there was a perfect counterpoint between Ray Beckett’s passion for capturing film sound ‘on set’ at last year’s Sound of Story conference and Glenn Freemantle’s jubilance over having to build the soundtrack to Everest almost from scratch. But let’s begin at the beginning.
It’s Brighton, and the Lighthouse arts and culture agency is hosting its second Sound of Story to a full house…
With Apple promising ‘the future of television’ with the latest-generation Apple TV, the race is on for music streaming services to get onboard. Being Apple, this isn’t easy, but Mixcloud has secured an early win for its 13m monthly listeners.
Ahead of SoundCloud, Deezer and Spotify, Mixcloud looks set to help shape broadcast’s latest reinvention along with its streamed delivery, multi-device integration and new control models.
Fast-and-Wide Blog
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Obsolescence: An Index of PossibilitiesAs a Tyrell Corporation Nexus-6 replicant, Blade Runner’s Roy Batty had a predetermined life span of just four years – and he wanted it extended. Remonstrations...Read More...
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Our Infatuation with SaturationWhen professional digital audio made its entrance, the limitations of early technology combined with the excitement of some advocates made it a soft target...Read More...
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Controlling InterestThe very first synthesiser I owned was a Moog. And my second; and my third. I still have two of them, a Micromoog and Minimoog, but sold the third, an...Read More...
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The Sound of the CrowdSo sport is back, in part, but fans are presently unwelcome at the matches being played – unless you count the cut-outs that the likes of Brighton &...Read More...
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The Last Seat in the HouseWe were just a few days into the UK coronavirus lockdown, when a copy of The Last Seat in the House: The Story of Hanley Sound arrived on my doorstep....Read More...
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Knocking Back CoronaWith only 13 countries presently likely to be remaining Covid-19 free, the live music and club industries worldwide have taken a heavy blow. The games...Read More...
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Après MidiWhen it appeared in 1983, Midi changed my life – as it did for countless other keyboard players around the world. Like any revolution worthy of...Read More...
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evolution: Sennheiser’s revolution Pt.2Having explored the thinking and story behind the evolution concept, Sennheiser’s exclusive show-and-tell session in London gave the floor to the a handful...Read More...
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evolution: Sennheiser’s revolution Pt.1‘Twenty years ago, a question was posed: should Sennheiser continue to produce dynamic microphones? Our prices had gone up and our profit had gone down...Read More...
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Pink Floyd: Their Mortal RemainsReleased in March 1967, ‘Arnold Layne’ was the first of eight singles from the fledgling Pink Floyd that year. Fifty years on, and with an unassailable...Read More...
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Kit Reviews: Cause and EffectSharing time and a couple of bottles of Asahi with another former pro audio magazine editor in the bar of London’s Metropolis Studios recently, the hoary...Read More...
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The Heydays of PhaseSometime around 1975-76 I wanted an MXR Phase 90 for my Wurlitzer electric piano – I wanted what the ‘real’ keyboard players of the time were using....Read More...
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The Vibe RevivalWith the ambition of the first Leslie emulation pedals finally fulfilled, the story of the Shin-ei Uni-Vibe has come full circle. In its wake we have phasers,...Read More...
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Second Screen Sports: Off Tube, On TargetMy local pub has a split personality. Or, maybe, it’s more like a secret identity – a single location but with two roles in life. For some of us,...Read More...
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Sound of Story: Chapter 3I once read that smell is our strongest associative sense. I’ve since tried to establish the relative ability of our other senses to evoke memories...Read More...
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Flange Theory: How I Miss My MistressIt seems to have become a common misconception that guitar fuzz boxes and distortion pedals predate more eloquent effects, such as phasing and flanging. OK,...Read More...
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