Category Archives: Effects

  1. Catalinbread Echorec Review

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    December 9, 2013 by tonetribune

    Golden Box from a Golden Era The Binson Echorec was an unusual, tube-driven echo unit of Italian origin, that employed …
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  2. Paul Barker talks Malekko Heavy Industry w/ Tone Tribune

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    February 10, 2013 by tonetribune

    The recent years of boutique effect pedal production could be thought of as an industrial revolution. It takes a real …
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  3. Evans AE 205 Analog Echo


    December 17, 2012 by tonetribune

    After scouring the internet and finding virtually nothing about this elusive rack delay of a bygone era, I have decided …
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  4. MXR JHM3 Jimi Hendrix 70th Anniversary Univibe

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    December 12, 2012 by tonetribune

    For those of you who have been waiting for a compact, yet authentic sounding univibe that emits a purple haze …
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  5. Malekko Assmaster

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    October 13, 2012 by tonetribune

    I was fortunate enough to come of age in the early 90’s during the backlash of the 80’s underground. After …
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  6. Harmonic Percolator


    September 25, 2012 by tonetribune

    Harmonic Percolator

    This elusive little device was a rare circuit devised in Milwaukee by Ed Giese in the 1970’s.

    It was designed to suppress odd order harmonics and pass on even order harmonics that are supposedly more pleasing to the ear. This is ironic only in the sense that it has been popularized by Steve Albini, who is responsible for some of the most dissonent (although very pleasing to my ear) tonalities ever created by guitar.

    If you are interested in sounding like Albini (I am not) do not think that this pedal will be an “in a can” solution to your sonic mimicry. There are far more interesting attributes to this amazing little device and it can be used in many applications.

    My favorite is to set the balance slider just above unity gain and keep the harmonics slider below half way. These settings yield a very pleasing sizzle to your signal that seems to grab hold of the initial attack of your note and release it slowly in to a bloom of harmonic bliss that sustains much like a perfectly dialed-in vintage compressor.

    Pass the halfway mark of the harmonics slider and you are rewarded with a thick, muscular fuzz-tone that is not missing frequencies anywhere in the tonal spectrum making this a must for bass players, and synth abusers who want a unique overdrive or fuzz.

    If you want a unique and classic stompbox that runs away from the pack and sounds great through tube and solid-state amps, this is a great option. No annoying, anemic, mid-humped, nasal whine or low/ high-end loss here.

    The originals are as elusive as the proverbial rocking horse monkey tail, so if you want a spot-on repro like the one I have here you can see if Chuck Collins will build you one at this link.

  7. MXR M117 Flanger & John Mcgeoch


    September 25, 2012 by tonetribune

    MXR M117 Flanger and John Mcgeoch

    Everyone knows about the Van Halen connection to this classic, warm and dynamic Flanger, so let us talk about another guitar legend that influenced just as many players with the help of this wild pedal.

    Enter John Mcheoch. He was one of the most imaginative and fearless English guitar players of his generation, without a hint of retrograde blues-rock in his style. His haunting ethereal tones can be heard on records by post-punk legends like Visage, Magazine and most famously Siouxsie and the Banshees. He loved the M117 so much he attached it to a stand so he could tweak it on the fly during performance and it was the only effect he used.

    If you are skeptical about Flangers in general, (as most people are,) then you have not plugged in to this 18-volt gray box. Though the Flanger is known for it’s jet-plane swoosh, you can dial in beautiful, subtle, rotating-speaker effects and other warm, chewy textures as well.

    To get a real dose of this classic effect being wielded by a master, listen to the 1981 album Juju by Siousxie and the Banshees and then try to tell me the flanger is best used in moderation…