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{{short description|Tape delay effect machine}}
{{about|the sound effect machine|the music venue in Los Angeles|Echoplex (venue)|the concept in computer telecommunications|echo (computing)|the [[Nine Inch Nails]] song|The Slip (album)}}
{{about|the sound effect machine|the music venue in Los Angeles|Echoplex (venue)|the concept in computer telecommunications|echo (computing)|the [[Nine Inch Nails]] song|The Slip (album)}}


[[File:Maestro Echoplex EP-2 (edit1).jpg|thumb|220px|Echoplex EP-2]]
[[File:Maestro Echoplex EP-2 (edit1).jpg|thumb|220px|Echoplex EP-2]]


The '''Echoplex''' is a [[Magnetic tape|tape]] [[Delay (audio effect)|delay]] [[Sound effect|effect]], first made in 1959. Designed by Mike Battle,<ref name="passing">{{Cite journal|last=Cleveland|first=Barry|title=Passing Notes: Mike Battle|journal=[[Guitar Player]]|volume=42|issue=8|page=60|date=August 2008}}</ref> the Echoplex set a standard for the effect in the 1960s—it is still regarded as "the standard by which everything else is measured."<ref name=dregni/> It was used by some of the most notable guitar players of the era; original Echoplexes are highly sought after.
The '''Echoplex''' is a [[Magnetic tape|tape]] [[Delay (audio effect)|delay]] [[effects unit]], first made in 1959. Designed by engineer Mike Battle,<ref name="passing">{{Cite journal|last=Cleveland|first=Barry|title=Passing Notes: Mike Battle|journal=[[Guitar Player]]|volume=42|issue=8|page=60|date=August 2008}}</ref> 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."<ref name=dregni/> Used by some of the most notable electric guitar players of the 1960s and 1970s, original Echoplexes are highly sought after.


==Background==
==The original tube Echoplex==
Tape echoes work by recording sound on a magnetic tape, which is then played back; the tape speed or distance between heads determine the delay, while a feedback variable (where the delayed sound is delayed again) allows for a repetitive effect.<ref>{{Cite book|last=Milano|first=Dominic|title=Multi-Track Recording|publisher=Hal Leonard|year=1988|page=37|url=https://books.google.com/books?id=flNjvqwwCAgC&pg=PA37|isbn=978-0-88188-552-1}}</ref> 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 [[Ray Butts EchoSonic|EchoSonic]]. He built fewer than seventy of them and could never keep up with the demand; they were used by players like [[Chet Atkins]], [[Scotty Moore]], and [[Carl Perkins]].<ref>{{cite news|title=The Ray Butts EchoSonic|last=Hunter|first=Dave|date=April 2012|work=[[Vintage Guitar (magazine)|Vintage Guitar]]|pages=46–48}}</ref> Electronics technician Mike Battle copied the design and built it into a portable unit;<ref>{{cite book|last=Hunter|first=Dave|title=Guitar rigs: classic guitar & amp combinations|url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PA54|accessdate=11 February 2012|year=2005|publisher=Hal Leonard |isbn=978-0-87930-851-3|page=54}}</ref> another version, however, states that Battle, working with a guitar player named Don Dixon from Akron, Ohio, perfected Dixon's original creation.<ref name=dregni>{{cite news|title=Echoplex EP-2|last=Dregni|first=Michael|date=July 2012|work=[[Vintage Guitar (magazine)|Vintage Guitar]]|pages=54–56}}</ref>
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.<ref>{{Cite book|last=Milano|first=Dominic|title=Multi-Track Recording|publisher=Hal Leonard|year=1988|page=37|url=https://books.google.com/books?id=flNjvqwwCAgC&pg=PA37|isbn=978-0-88188-552-1}}</ref> 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 [[Ray Butts EchoSonic|EchoSonic]]. Butts built fewer than seventy EchoSonics for guitarists including [[Chet Atkins]], [[Scotty Moore]], and [[Carl Perkins]].<ref>{{cite news|title=The Ray Butts EchoSonic|last=Hunter|first=Dave|date=April 2012|work=[[Vintage Guitar (magazine)|Vintage Guitar]]|pages=46–48}}</ref> Mike Battle later copied Butts' tape echo and built it into a portable unit;<ref>{{cite book|last=Hunter|first=Dave|title=Guitar rigs: classic guitar & amp combinations|url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PA54|access-date=11 February 2012|year=2005|publisher=Hal Leonard |isbn=978-0-87930-851-3|page=54}}</ref> another version of the story holds that Battle based his design on one by Don Dixon.<ref name=dregni>{{cite news|title=Echoplex EP-2|last=Dregni|first=Michael|date=July 2012|work=[[Vintage Guitar (magazine)|Vintage Guitar]]|pages=54–56}}</ref>


== Tube Echoplexes ==
The first Echoplex with vacuum tubes was marketed in 1961. Their big innovation was the moving head, which allowed the operator to change the delay time. In 1962, their patent was bought by a company called Market Electronics in Cleveland, Ohio. Market Electronics built the units and kept designers Battle and Dixon as consultants; they marketed the units through distributor Maestro, hence the name, ''Maestro Echoplex.'' In the 1950s, Maestro was a leader in [[vacuum tube]] technology. It had close ties with [[Gibson Guitar Corporation|Gibson]], and often manufactured amplifiers for Gibson. Later, Harris-Teller of Chicago took over production.<ref name=dregni/> The first tube Echoplex had no number designation, but was retroactively designated the EP-1 after the unit received its first upgrade. The upgraded unit was designated the EP-2.<ref name="passing"/> These two units set the standard for the delay effect, with their "warm, round, thick echo."<ref name="hunter">{{Cite book|last=Hunter|first=Dave|title=Guitar effects pedals: the practical handbook|publisher=Hal Leonard|year=2004|pages=77–78|url=https://books.google.com/books?id=myP-4CZWyxcC&pg=PT78|isbn=978-0-87930-806-3}}</ref> Two of Battle's improvements over earlier designs were key&nbsp;— the adjustable tape head, which allowed for variable delay, and a cartridge containing the tape, protecting it to retain sound quality.<ref name=dregni/>
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."<ref name="LoopersDelight">{{cite web |title=Interview with Mike Battle{{smaller| - Inventor of the legendary Echoplex tape delay}} |url=https://loopersdelight.com/musings/Mike_Battle/Mike_Battle.html|website=Looper's Delight |quote={{smaller|''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.''}}}}</ref> The main innovation of the Echoplex was a moving playback 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 Guitar Corporation|Gibson]], and often manufactured amplifiers for Gibson. Later, Harris-Teller of Chicago took over production.<ref name="dregni" />


The Echoplex wasn't notable just for the delay, but also for the sound; it is "still a classic today, and highly desirable for a range of playing styles&nbsp;... warm, rich, and full-bodied."<ref>{{Cite book|last=Hunter|first=Dave|title=Guitar rigs: classic guitar & amp combinations|publisher=Hal Leonard|year=2005|page=55|url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PT55|isbn=978-0-87930-851-3}}</ref> The delay could be turned off and the unit used as a filter, thanks to the sound of the vacuum tubes.
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.<ref name="passing" /> These two units were noted for their "warm, round, thick echo" and the sound quality of the tube [[preamplifier]] section.<ref name="hunter">{{Cite book |last=Hunter |first=Dave |url=https://books.google.com/books?id=myP-4CZWyxcC&pg=PT78 |title=Guitar effects pedals: the practical handbook |publisher=Hal Leonard |year=2004 |isbn=978-0-87930-806-3 |pages=77–78}}</ref><ref>{{Cite book |last=Hunter |first=Dave |url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PT55 |title=Guitar rigs: classic guitar & amp combinations |publisher=Hal Leonard |year=2005 |isbn=978-0-87930-851-3 |page=55}}</ref> 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.<ref name="dregni" />


While Echoplexes were used mainly by guitar players (and the occasional bass player, such as [[Chuck Rainey]],<ref>{{cite book|last=Friedland|first=Ed|title=R&B Bass Masters: The Way They Play|url=https://books.google.com/books?id=eKCGMCOlisgC&pg=PA19|year=2005|publisher=Hal Leonard|isbn=9781617745270|page=19}}</ref> or trumpeter, such as [[Don Ellis]]<ref>{{cite book|title=A Short History of Jazz|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=PA200|year=1993|publisher=Rowman & Littlefield|isbn=9780830415953|page=200}}</ref> or [[Miles Davis]]<ref>{{cite book|last1=Carter|first1=Ron|last2=Terry|first2=Clark|last3=White|first3=Lenny|title=Miles Davis: The Complete Illustrated History|url=https://books.google.com/books?id=j0r0AwAAQBAJ&pg=PA150|year=2012|publisher=MBI|isbn=9781610586825|page=150}}</ref><ref>{{cite book|last=Szwed|first=John|title=So What: The Life of Miles Davis|url=https://archive.org/details/sowhatlifeofmile00szwed|url-access=registration|year=2004|publisher=Simon and Schuster|isbn=9780684859835|page=[https://archive.org/details/sowhatlifeofmile00szwed/page/288 288]}}</ref>), many [[recording studio]]s also used the Echoplex.<ref>{{Cite book|last=Hurtig|first=Brent|title=Multi-track recording for musicians|publisher=Alfred|year=1988|page=51|url=https://books.google.com/books?id=ByJG1iwUHBAC&pg=PA51|isbn=978-0-88284-355-1}}</ref>
While Echoplexes were used mainly by guitar players (and the occasional bass player, such as [[Chuck Rainey]],<ref>{{cite book|last=Friedland|first=Ed|title=R&B Bass Masters: The Way They Play|url=https://books.google.com/books?id=eKCGMCOlisgC&pg=PA19|year=2005|publisher=Hal Leonard|isbn=9781617745270|page=19}}</ref> or trumpeter, such as [[Don Ellis]]<ref>{{cite book|title=A Short History of Jazz|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=PA200|year=1993|publisher=Rowman & Littlefield|isbn=9780830415953|page=200}}</ref> or [[Miles Davis]]),<ref>{{cite book |last1=Carter |first1=Ron |url=https://books.google.com/books?id=j0r0AwAAQBAJ&pg=PA150 |title=Miles Davis: The Complete Illustrated History |last2=Terry |first2=Clark |last3=White |first3=Lenny |publisher=MBI |year=2012 |isbn=9781610586825 |page=150}}</ref><ref>{{cite book|last=Szwed|first=John|title=So What: The Life of Miles Davis|url=https://archive.org/details/sowhatlifeofmile00szwed|url-access=registration|year=2004|publisher=Simon and Schuster|isbn=9780684859835|page=[https://archive.org/details/sowhatlifeofmile00szwed/page/288 288]}}</ref> many [[recording studio]]s also used them.<ref>{{Cite book|last=Hurtig|first=Brent|title=Multi-track recording for musicians|publisher=Alfred|year=1988|page=51|url=https://books.google.com/books?id=ByJG1iwUHBAC&pg=PA51|isbn=978-0-88284-355-1}}</ref>


==The solid-state Echoplex==
==Solid-state Echoplexes==


===EP-3===
===EP-3===
Market Electronics held off on using [[transistor]]s while other companies made the transition. Nevertheless, in the late 1960s they set Battle and Dixon to the task of creating the first transistor version of their product. Once the two were satisfied, beginning in the 1970s, the [[Solid-state (electronics)|solid-state]] Echoplex was offered by Maestro<ref name="hunter"/> and designated the EP-3, but Mike Battle, unhappy with the sound of the EP-3, sold his interest in the company.<ref name="passing"/> This unit offered echo, sound-on-sound, and a number of minor convenience improvements. Having been produced from 1970 to 1991, this unit enjoyed the longest production run of all the Echoplex models and was used by Eddie Van Halen, Tommy Bolin, Andy Summers, Jimmy Page, Brian May, and many other notable guitarists of the 1970s. About the time of the public introduction of the EP-3, Maestro was taken over by Norlin Industries, then the parent company to Gibson Guitars.<ref name=dregni/>
Market Electronics held off on using [[transistor]]s 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<ref name="hunter"/> beginning in 1970 and designated the EP-3; Battle, unhappy with the sound of the EP-3, sold his interest in the company.<ref name="passing"/> 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.<ref name=dregni/>


===EP-4===
===EP-4===
[[File:Maestro Echoplex EP-4 with analog meter (edit1).jpg|thumb|EP4]]
[[File:Maestro Echoplex EP-4 with analog meter (edit1).jpg|thumb|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 and tone controls and dropping the sound-on-sound feature. The EP-4 has an added output buffer to help improve impedance matching with other equipment. A compressor board based on the CA3080 [[Operational transconductance amplifier|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 and then the compressor board was dropped from both the EP-3 and EP-4 models. The EP-3 model was also offered for sale alongside the EP-4 model after the EP-4 was introduced.<ref>{{cite news|title=Echoplex: Roots of Echo, part IV|last=Teagle|first=John|date=7 December 2004|work=[[Vintage Guitar (magazine)|Vintage Guitar]]}}</ref>
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 [[Operational transconductance amplifier|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.<ref>{{cite news|title=Echoplex: Roots of Echo, part IV|last=Teagle|first=John|date=7 December 2004|work=[[Vintage Guitar (magazine)|Vintage Guitar]]}}</ref>


Battle's final consulting with Market yielded the EM-1 Groupmaster, which offered a four-channel input mixer section and a mono output section. Dissatisfied with the transistor-minded direction Maestro was taking, Butts left the company.<ref name=dregni/>
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.<ref name=dregni/>


==End of tape echo production and subsequent use of the brand==
==End of tape echo production and subsequent use of the brand==
[[File:Gibson Echoplex Digital Pro.jpg|thumb|Gibson Echoplex Digital Pro]]
[[File:Gibson Echoplex Digital Pro.jpg|thumb|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 stock of Echoplex parts from Market Electronics. Harris Teller used the back stock to assemble reissues of the EP-3, EP-4, and tube EP-2, which they designated the EP-6t. In 1991, the thirty-year run of electro-mechanical Echoplex production finally came to an end. Towards the middle of that decade the Echoplex brand was purchased by Gibson and applied to its line of digital looping units,<ref name="Gibson EDP">{{cite web |title=Looping: A talk with Matthias Grob |url=http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |work=Gibson News |date=December 13, 2004 |publisher=Gibson Labs, Gibson Guitar Corporation |access-date=January 7, 2011 |archive-url=https://web.archive.org/web/20110622084851/http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |archive-date=June 22, 2011 |url-status=dead }}</ref><ref>{{Cite journal|last=Teagle|first=John|year=2004|title=Roots of Echo Pt4|journal=Vintage Guitar Magazine Online|volume=1|issue=1|page=1|accessdate=7 December 2004|url=http://www.vintageguitar.com/features/brands/details.asp?AID=1170|url-status=dead|archiveurl=https://web.archive.org/web/20081204233647/http://www.vintageguitar.com/features/brands/details.asp?AID=1170|archivedate=4 December 2008}})</ref> one of which was sold under the [[Oberheim Electronics|Oberheim]] brand as the Echoplex Digital Pro.<ref name="NAMM94">{{cite journal
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,<ref name="Gibson EDP">{{cite web |title=Looping: A talk with Matthias Grob |url=http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |work=Gibson News |date=December 13, 2004 |publisher=Gibson Labs, Gibson Guitar Corporation |access-date=January 7, 2011 |archive-url=https://web.archive.org/web/20110622084851/http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |archive-date=June 22, 2011 |url-status=dead }}</ref><ref>{{Cite journal|last=Teagle|first=John|year=2004|title=Roots of Echo Pt4|journal=Vintage Guitar Magazine Online|volume=1|issue=1|page=1|access-date=7 December 2004|url=http://www.vintageguitar.com/features/brands/details.asp?AID=1170|url-status=dead|archive-url=https://web.archive.org/web/20081204233647/http://www.vintageguitar.com/features/brands/details.asp?AID=1170|archive-date=4 December 2008}})</ref> one of which was sold under the [[Oberheim Electronics|Oberheim]] brand as the Echoplex Digital Pro.<ref name="NAMM94">{{cite journal
|title=NAMM '94 Report |url=http://www.soundonsound.com/sos/1994_articles/mar94nammreport.html?print=yes |journal=Sound on Sound |issue=March 1994}}</ref>
|title=NAMM '94 Report |url=http://www.soundonsound.com/sos/1994_articles/mar94nammreport.html?print=yes |journal=Sound on Sound |issue=March 1994}}</ref>


{{As of|2019}}, Echoplex is a trademark of [[Dunlop Manufacturing]],<ref>{{cite web |title=Trademarks |url=https://www.jimdunlop.com/category/legal.do#legal_trademarks |website=Jim Dunlop |publisher=Dunlop Manufacturing |accessdate=10 March 2019}}</ref> which uses it for a digital pedal that emulates the sound of tape delay<ref>{{cite web |title=ECHOPLEX® DELAY |url=https://www.jimdunlop.com/product/ep103-7-10137-08166-6.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |accessdate=10 March 2019}}</ref> and for a [[FET]]-based [[preamp]] based on that of the EP-3.<ref>{{cite web |title=ECHOPLEX® PREAMP |url=https://www.jimdunlop.com/product/ep101-7-10137-06930-5.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |accessdate=10 March 2019}}</ref>
{{As of|2019}}, Echoplex is a trademark of [[Dunlop Manufacturing]],<ref>{{cite web |title=Trademarks |url=https://www.jimdunlop.com/category/legal.do#legal_trademarks |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}}</ref> which uses it for a [[Digital delay line|digital delay]] pedal that emulates the sound of tape Echoplexes.<ref>{{cite web |title=ECHOPLEX® DELAY |url=https://www.jimdunlop.com/product/ep103-7-10137-08166-6.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}}</ref> Dunlop also manufactures [[Field-effect transistor|FET]]-based preamplifier pedal modeled on the EP-3's preamplifier.<ref>{{cite web |title=ECHOPLEX® PREAMP |url=https://www.jimdunlop.com/product/ep101-7-10137-06930-5.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}}</ref>


==Notable users==
==Notable users==
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*[[Tommy Bolin]],<ref>{{cite book|last=Molenda|first=Mike|title=The Guitar player book: 40 years of interviews, gear, and lessons from the world's most celebrated guitar magazine|year=2007|publisher=Hal Leonard|isbn=978-0-87930-782-0|author2=Les Paul|page=187}}</ref><ref>{{cite book|last=Méndez|first=Antonio|title=Guía del pop y el rock, años 60: aloha PopRock|year=2007|publisher=Editorial Visión Libros|isbn=978-84-9821-569-4|url=https://books.google.com/books?id=IBXw9YpLhuYC&pg=PA411|page=411}}</ref><ref>{{cite book|last=Ross|first=Michael|title=Getting great guitar sounds: a non-technical approach to shaping your personal sound|year=1998|publisher=Hal Leonard|isbn=978-0-7935-9140-4|url=https://books.google.com/books?id=CddgbKkAoxYC&pg=PA45|page=45}}</ref> especially for the "ray-gun" effect heard on [[Billy Cobham]]'s ''[[Spectrum (Billy Cobham album)|Spectrum]]''<ref name="tones">{{cite journal | last = Blackett | first = Matt | title = The 50 Greatest Tones of All Time | journal = [[Guitar Player]] | volume = 38 | issue = 10 | pages = 44–66 | date = October 2004 }}</ref>
*[[Tommy Bolin]],<ref>{{cite book|last=Molenda|first=Mike|title=The Guitar player book: 40 years of interviews, gear, and lessons from the world's most celebrated guitar magazine|year=2007|publisher=Hal Leonard|isbn=978-0-87930-782-0|author2=Les Paul|page=187}}</ref><ref>{{cite book|last=Méndez|first=Antonio|title=Guía del pop y el rock, años 60: aloha PopRock|year=2007|publisher=Editorial Visión Libros|isbn=978-84-9821-569-4|url=https://books.google.com/books?id=IBXw9YpLhuYC&pg=PA411|page=411}}</ref><ref>{{cite book|last=Ross|first=Michael|title=Getting great guitar sounds: a non-technical approach to shaping your personal sound|year=1998|publisher=Hal Leonard|isbn=978-0-7935-9140-4|url=https://books.google.com/books?id=CddgbKkAoxYC&pg=PA45|page=45}}</ref> especially for the "ray-gun" effect heard on [[Billy Cobham]]'s ''[[Spectrum (Billy Cobham album)|Spectrum]]''<ref name="tones">{{cite journal | last = Blackett | first = Matt | title = The 50 Greatest Tones of All Time | journal = [[Guitar Player]] | volume = 38 | issue = 10 | pages = 44–66 | date = October 2004 }}</ref>
*[[Wes Borland]]<ref>{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The new metal masters|publisher=Hal Leonard|year=2004|page=70|url=https://books.google.com/books?id=3Yw_qDQxNLAC&pg=PA70|isbn=978-0-87930-804-9}}</ref>
*[[Wes Borland]]<ref>{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The new metal masters|publisher=Hal Leonard|year=2004|page=70|url=https://books.google.com/books?id=3Yw_qDQxNLAC&pg=PA70|isbn=978-0-87930-804-9}}</ref>
*[[Miles Davis]]<ref>{{Cite book|last=Carr|first=Ian|title=Miles Davis: the definitive biography|publisher=Thunder's Mouth Press|year=1999|page=[https://archive.org/details/milesdavisdefini0000carr/page/261 261]|isbn=978-1-56025-241-2|url=https://archive.org/details/milesdavisdefini0000carr|url-access=registration|accessdate=5 February 2010}}</ref>
*[[Miles Davis]]<ref>{{Cite book|last=Carr|first=Ian|title=Miles Davis: the definitive biography|publisher=Thunder's Mouth Press|year=1999|page=[https://archive.org/details/milesdavisdefini0000carr/page/261 261]|isbn=978-1-56025-241-2|url=https://archive.org/details/milesdavisdefini0000carr|url-access=registration|access-date=5 February 2010}}</ref>
*[[East Bay Ray]]<ref>{{Cite book|last=Foley|first=Michael Stewart|title=33 1/3 Series - Fresh Fruit for Rotting Vegetables|publisher= Bloomsbury Publishing|year=2015|page=55|url=https://books.google.com/books?id=3ZW6BwAAQBAJ}}</ref>
*[[East Bay Ray]]<ref>{{Cite book|last=Foley|first=Michael Stewart|title=33 1/3 Series - Fresh Fruit for Rotting Vegetables|publisher= Bloomsbury Publishing|year=2015|page=55|isbn=9781623562441 |url=https://books.google.com/books?id=3ZW6BwAAQBAJ}}</ref>
*[[Don Ellis]]<ref>{{Cite book|last=Yurochko|first=Bob|title=A Short History of Jazz|publisher=Rowman & Littlefield|year=2001|page=175|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=RA1-PA175|isbn=978-0-8304-1595-3}}</ref>
*[[Don Ellis]]<ref>{{Cite book|last=Yurochko|first=Bob|title=A Short History of Jazz|publisher=Rowman & Littlefield|year=2001|page=175|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=RA1-PA175|isbn=978-0-8304-1595-3}}</ref>

*[[Ace Frehley]]<ref>url=https://musiconthemenu.blogspot.com/2019/06/frehley-ready-for-blastoff-legendary.html</ref>
*[[Jerry Goldsmith]]<ref>{{cite book|last=Timm|first=Larry M.|title=The soul of cinema: an appreciation of film music|year=2003|publisher=Prentice Hall|isbn=978-0-13-030465-0|page=228}}</ref><ref>{{cite book|last=Cramer|first=Alfred W.|title=Musicians and Composers of the 20th Century-Volume 2|year=2009|publisher=Salem Press|isbn=978-1-58765-514-2|page=514}}</ref>
*[[Jerry Goldsmith]]<ref>{{cite book|last=Timm|first=Larry M.|title=The soul of cinema: an appreciation of film music|year=2003|publisher=Prentice Hall|isbn=978-0-13-030465-0|page=228}}</ref><ref>{{cite book|last=Cramer|first=Alfred W.|title=Musicians and Composers of the 20th Century-Volume 2|year=2009|publisher=Salem Press|isbn=978-1-58765-514-2|page=514}}</ref>
*[[Steve Hackett]]<ref>{{Cite book|last=Giammetti|first=Mario|title=Genesis: Il fiume del costante cambiamento|publisher=[[Editori Riuniti]]|year=2004|page=336|isbn=88-359-5507-6}}</ref>
*[[Steve Hackett]]<ref>{{Cite book|last=Giammetti|first=Mario|title=Genesis: Il fiume del costante cambiamento|publisher=[[Editori Riuniti]]|year=2004|page=336|isbn=88-359-5507-6}}</ref>
*[[Eric Johnson (guitarist, born 1954)|Eric Johnson]]<ref>{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003| pages=20|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA20|isbn=978-0-87930-751-6}}</ref><ref>{{Cite book|last=Fischer|first=Peter|title=Masters of Rock Guitar 2: The New Generation, Volume 2|publisher=Mel Bay|year=2006|page=67|url=https://books.google.com/books?id=ctDTmoh3vDAC&pg=PA67|isbn=978-3-89922-079-7}}</ref>
*[[Eric Johnson (guitarist, born 1954)|Eric Johnson]]<ref>{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003| pages=20|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA20|isbn=978-0-87930-751-6}}</ref><ref>{{Cite book|last=Fischer|first=Peter|title=Masters of Rock Guitar 2: The New Generation, Volume 2|publisher=Mel Bay|year=2006|page=67|url=https://books.google.com/books?id=ctDTmoh3vDAC&pg=PA67|isbn=978-3-89922-079-7}}</ref>
⚫
*[[John Martyn]]<ref>{{Cite web|title=John Martyn Biography|publisher=[[AllMusic]]|url={{Allmusic|class=artist|id=p2063|pure_url=yes}}|access-date=2009-11-09}}</ref>
*[[Esteban Jordan]]<ref>{{Cite news|last=Corcoran|first=Michael|title=Music Crossing Jordan|publisher=San Antonio Current|date=November 20, 2005|url=http://www.sacurrent.com/special/story.asp?id=60869|accessdate=2010-08-20}}</ref><ref>{{Cite web|last=Corcoran|first=Michael|title=Steve 'Esteban' Jordan gave the accordion a new sound|publisher=Austin 360|date=August 14, 2010|url=http://www.austin360.com/music/steve-esteban-jordan-gave-the-accordion-a-new-859946.html|accessdate=2010-08-20}}</ref>
⚫
*[[John Martyn]]<ref>{{Cite web|title=John Martyn Biography|publisher=[[AllMusic]]|url={{Allmusic|class=artist|id=p2063|pure_url=yes}}|accessdate=2009-11-09}}</ref>
*[[Brian May]]<ref name="campion">{{Cite book|last=Campion|first=Chris|title=Walking on the Moon: The Untold Story of the Police and the Rise of New Wave Rock|publisher=John Wiley and Sons|year=2009|page=62|url=https://books.google.com/books?id=ODs8IEzC4Z0C&pg=PA62|isbn=978-0-470-28240-3}}</ref>
*[[Brian May]]<ref name="campion">{{Cite book|last=Campion|first=Chris|title=Walking on the Moon: The Untold Story of the Police and the Rise of New Wave Rock|publisher=John Wiley and Sons|year=2009|page=62|url=https://books.google.com/books?id=ODs8IEzC4Z0C&pg=PA62|isbn=978-0-470-28240-3}}</ref>
*[[Steve Miller (musician)|Steve Miller]]<ref>{{cite news|last=Gress|first=Jesse|title=10 Things You Gotta Do To Play Like Steve Miller|newspaper=[[Guitar Player]]|date=February 2011|pages=75–88}}</ref>
*[[Steve Miller (musician)|Steve Miller]]<ref>{{cite news|last=Gress|first=Jesse|title=10 Things You Gotta Do To Play Like Steve Miller|newspaper=[[Guitar Player]]|date=February 2011|pages=75–88}}</ref>
*[[Gary Moore]]<ref>{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003|page=10|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA10|isbn=978-0-87930-751-6}}</ref>
*[[Gary Moore]]<ref>{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003|page=10|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA10|isbn=978-0-87930-751-6}}</ref>
*[[Jimmy Page]]<ref name="passing"/><ref name="campion"/>
*[[Jimmy Page]]<ref name="passing"/><ref name="campion"/>
*Jeff Plewman ([[Nash the Slash]])
*[[Chuck Rainey]]<ref>{{Cite book|last=Friedland|first=Ed|title=The R&B Bass Masters: The Way They Play|publisher=Hal Leonard|year=2005|pages=17, 19|url=https://books.google.com/books?id=QqNdKMf6q8UC&pg=PA19|isbn=978-0-87930-869-8}}</ref>
*[[Chuck Rainey]]<ref>{{Cite book|last=Friedland|first=Ed|title=The R&B Bass Masters: The Way They Play|publisher=Hal Leonard|year=2005|pages=17, 19|url=https://books.google.com/books?id=QqNdKMf6q8UC&pg=PA19|isbn=978-0-87930-869-8}}</ref>
*[[Randy Rhoads]]<ref>{{Cite journal|last=Gress|first=Jesse|date=May 2009|title=10 Things You Gotta Do to Play Like Randy Rhoads|journal=[[Guitar Player]]|volume=43|issue=5|pages=98–105}}</ref>
*[[Randy Rhoads]]<ref>{{Cite journal|last=Gress|first=Jesse|date=May 2009|title=10 Things You Gotta Do to Play Like Randy Rhoads|journal=[[Guitar Player]]|volume=43|issue=5|pages=98–105}}</ref>
Line 59: Line 59:
*[[Sonny Sharrock]]<ref>{{Cite book|last=Chambers|first=Jack|title=Milestones: the music and times of Miles Davis|publisher=Da Capo|year=1998|page=203|isbn=978-0-306-80849-4|url=https://books.google.com/books?id=nNHpQ1b9Q5gC&pg=RA1-PA203}}</ref>
*[[Sonny Sharrock]]<ref>{{Cite book|last=Chambers|first=Jack|title=Milestones: the music and times of Miles Davis|publisher=Da Capo|year=1998|page=203|isbn=978-0-306-80849-4|url=https://books.google.com/books?id=nNHpQ1b9Q5gC&pg=RA1-PA203}}</ref>
*[[Andy Summers]]<ref name="campion"/>
*[[Andy Summers]]<ref name="campion"/>
*[[Eddie Van Halen]]<ref>{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The hard rock masters|publisher=Hal Leonard|year=2004|pages=31, 34|url=https://books.google.com/books?id=nOKYUcPvysMC&pg=PA31|isbn=978-0-87930-813-1}}</ref><ref>{{Cite journal|last=Gill|first=Chris|title=Some Kind of Monster|journal=[[Guitar World]]|volume=28|issue=3|pages=56–62, 104|date=March 2007|url=https://books.google.com/books?id=gvsDAAAAMBAJ&pg=PA62|issn=1045-6295|accessdate=2009-09-28}} {{Dead link|date=October 2010|bot=H3llBot}}</ref>
*[[Eddie Van Halen]]<ref>{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The hard rock masters|publisher=Hal Leonard|year=2004|pages=31, 34|url=https://books.google.com/books?id=nOKYUcPvysMC&pg=PA31|isbn=978-0-87930-813-1}}</ref><ref>{{Cite journal|last=Gill|first=Chris|title=Some Kind of Monster|journal=[[Guitar World]]|volume=28|issue=3|pages=56–62, 104|date=March 2007|url=https://books.google.com/books?id=gvsDAAAAMBAJ&pg=PA62|issn=1045-6295|access-date=2009-09-28}} {{Dead link|date=October 2010|bot=H3llBot}}</ref>
*[[Joe Walsh]]<ref>{{Cite news|last=Crockett|first=Jim|title=Joe Walsh, a Pro Replies|work=[[Guitar Player]]|page=6|date=October 1972}}</ref><ref>{{Cite web|title=Ten Things You Gotta Do to Play Like Joe Walsh|publisher=[[Guitar Player]]|url=http://www.guitarplayer.com/article/10-things-you/apr-07/27270|accessdate=2010-03-24}}</ref>
*[[Joe Walsh]]<ref>{{Cite news|last=Crockett|first=Jim|title=Joe Walsh, a Pro Replies|work=[[Guitar Player]]|page=6|date=October 1972}}</ref><ref>{{Cite web|title=Ten Things You Gotta Do to Play Like Joe Walsh|publisher=[[Guitar Player]]|url=http://www.guitarplayer.com/article/10-things-you/apr-07/27270|access-date=2010-03-24}}</ref>
*[[Keller Williams]]<ref>{{Cite web|title=Low-End Loop Master|publisher=[[Premier Guitar]]|url=http://www.premierguitar.com/Magazine/Issue/2012/Mar/Keller_Williams_Low_End_Loop_Master.aspx|accessdate=2012-02-17}}</ref>
*[[Keller Williams]]<ref>{{Cite web|title=Low-End Loop Master|publisher=[[Premier Guitar]]|url=http://www.premierguitar.com/Magazine/Issue/2012/Mar/Keller_Williams_Low_End_Loop_Master.aspx|access-date=2012-02-17}}</ref>
*[[Neil Young]]<ref>{{Cite web|last=Obrecht|first=Jas|title=Neil Young's Guitar Equipment|publisher=[[Guitar Player]]|date=March 1992|url=http://thrasherswheat.org/ptma/equip.htm|accessdate=2012-08-13}}</ref>
*[[Neil Young]]<ref>{{Cite web|last=Obrecht|first=Jas|title=Neil Young's Guitar Equipment|publisher=[[Guitar Player]]|date=March 1992|url=http://thrasherswheat.org/ptma/equip.htm|access-date=2012-08-13}}</ref>
*[[Doug Martsch]]<ref>{{cite web |title=Proceed With Caution-Built to Spill Frontman Doug Martsch Lets a Little Digital Into His Life |url=https://www.keyboardmag.com/miscellaneous/proceed-with-caution-built-to-spill-frontman-doug-martsch-lets-a-little-digital-into-his-life |website=keyboardmag.com |publisher=Keyboard Magazine |accessdate=20 April 2020}}</ref>
*[[Doug Martsch]]<ref>{{cite web |title=Proceed With Caution-Built to Spill Frontman Doug Martsch Lets a Little Digital Into His Life |url=https://www.keyboardmag.com/miscellaneous/proceed-with-caution-built-to-spill-frontman-doug-martsch-lets-a-little-digital-into-his-life |website=keyboardmag.com |publisher=Keyboard Magazine |access-date=20 April 2020}}</ref>
*[[DJ Kool Herc]]<ref>https://www.waxpoetics.com/connections/new-york-djs/article/kool-dj-herc-vs-pete-dj-jones/</ref>
*[[Greg Sage]]<ref>{{cite web |last1=Neutron |first1=Conan |title=Protones & Electrones: A Playlist of Influential Guitar and Bass Sounds |url=https://www.earthquakerdevices.com/blog-posts/conan-neutron-playlist |website=earthquakerdevices.com |publisher=Earthquaker Devices |accessdate=20 April 2020}}</ref>
{{div col end}}<!-- THIS CODE MUST BE PLACED ON END OF SECTION. DON'T DELETE IT. -->
{{div col end}}<!-- THIS CODE MUST BE PLACED ON END OF SECTION. DON'T DELETE IT. -->


== See also ==
== See also ==


* [[Echolette]]
* [[Binson Echorec]]
* [[Echorec]]
* [[Watkins Copicat]]
* [[Watkins Electric Music]], makers of the CopiCat tape echo unit.


==References==
==References==
Line 78: Line 77:
==External links==
==External links==
{{Commons category|Echoplex}}
{{Commons category|Echoplex}}
* [https://www.namm.org/library/oral-history/mike-battle Mike Battle Interview]—NAMM Oral History Library (2002)
* [https://www.namm.org/library/oral-history/mike-battle Mike Battle Interview] at [[NAMM Oral History Program|NAMM Oral History Collection]] (2002)


[[Category:Effects units]]
[[Category:Effects units]]
[[Category:Products introduced in 1959]]

Revision as of 19:03, 17 July 2024

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

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

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 playback 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

EP-3

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

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

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

See also

References

  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/
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