Thermionic Studios - User contributions [en]

Effects

2017-08-19T06:41:36Z

Zcollier: /* Resurrected Effects */

{| align="right"
| __TOC__
|}

==Vintage Effects==
We here at Thermionic Studios categorize anything dated 1989 or earlier as "Vintage". We realize that this date is somewhat arbitrary. We recognize that there are electronic devices going back as early as the 1940s and 1950s that in no way resemble effects from the 1980s. Certainly, aficionados would not categorize anything from the 1950s, especially if it included moving mechanical components, along with anything from the 1980's. For the sake of this site, and for the associated practicalities, we will stick with our 1989/1990 date as the break between these two periods.

We deem this date to be significant because it coincides with two events, one economic and the other technological, that give a reasonably good cause for anything dated 1989 and earlier to be categorized as "Vintage":

# This date marks the time when Roland/Boss (at the time, the most influential music effects company) moved its manufacturing operations from Japan to Taiwan.
# Also at this time, and probably more important, there was a shift in manufacturing practices in the electronics industry. The beginning of the 1990s saw the introduction of SMD, or "surface mounted device" componentry. SMD manufacturing techniques accelerated throughout the electronics industry to the point now where most mass-manufactured electronic devices are manufactured using SMD techniques. Today, only a small minority of manufacturers still use printed circuit boards with discrete removable components.

==Modern Effects==
We categorize "Modern" effects as anything dated 1990 and up to the present; and are built using most recent manufacturing methods (printed circuit boards, SMD) that are still currently and effectively used. Occasionally, boutique builders will use older methods, like tag boards and point-to-point wiring, but this has more to do with maintaining authenticity to the original methods as a selling point. It is our expectation that moving forward, that new manufacturing techniques, like 3D-printing will, in time, become the new "line" that separates "Vintage" from "Modern" gear.

Another notable difference in "modern" effects is the advent purely software-based (as opposed to hardware or real logic circuits) nature of digital effects. There are two main applications of these digital effects:

# Realtime use in the instrument signal-line, like the Line 6 Pod "[http://line6.com/pod20/ effect bean]",
# Post-recorded use in Digital Audio Workstations, or DAWs.

In a DAW, you typically take what has already been recorded and converted into a digital format. Once the digital file has been imported to the DAW into memory or on disk, it is a relatively trivial act to apply an already-built in effect (delay, reverb, etc...) to the file. This would be done so as to evoke different different sounds and therefore different emotions and reactions from the sound. Avid ProTools or Adobe Audition are great examples of Post-recording DAWs and are really used more for editing and production than for performance.

==Effects Listings==
====[[Effects by Function]]====
Effects listed by the function of the effect on a music signal.

----

====[[Effects by Manufacturer]]====
Effects as listed by company of manufacture.

----

====[[Thermionic Effects]]====
These are conventional effects owned by Thermionic Studios and available for rental.

----

====[[Resurrected Effects]]====
These are effects that, for most intents and purposes, are no longer available. These effects were never terribly successful in their day, but as antique models of these discontinued effects are rediscovered and used by new artists to create new sounds, there is resurgent demand for them again. These effects are being researched and reconstructed by DIY-and-boutique electronic effects shops, and individual pedal makers. The PCBs for these effects are being sourced by Thermionic Studios. Eventually the effects listed will all be built, tested, and available for rental. As new effects that are actually novel are being discovered and made available, we will also endeavor to make them available.

----

====[[Standalone Effect Devices]]====
Occasionally there are standalone devices that don't seem to fit into any other category. These could be vintage effects that eventually found their way into a pedal, these could be things that have a such physical size and a such unique sound that they have been kept for future use. In many, if not most cases, these effects don't necessarily exist any more because they've been replaced with smaller, more convenient, easier form factors (again, pedals or rack-mount effects), or it could include different methods of making the sound (like changing an analog effect to a digital one).

Effects

2017-08-19T06:39:47Z

Zcollier: /* Modern Effects */ - update to DAWs

{| align="right"
| __TOC__
|}

==Vintage Effects==
We here at Thermionic Studios categorize anything dated 1989 or earlier as "Vintage". We realize that this date is somewhat arbitrary. We recognize that there are electronic devices going back as early as the 1940s and 1950s that in no way resemble effects from the 1980s. Certainly, aficionados would not categorize anything from the 1950s, especially if it included moving mechanical components, along with anything from the 1980's. For the sake of this site, and for the associated practicalities, we will stick with our 1989/1990 date as the break between these two periods.

We deem this date to be significant because it coincides with two events, one economic and the other technological, that give a reasonably good cause for anything dated 1989 and earlier to be categorized as "Vintage":

# This date marks the time when Roland/Boss (at the time, the most influential music effects company) moved its manufacturing operations from Japan to Taiwan.
# Also at this time, and probably more important, there was a shift in manufacturing practices in the electronics industry. The beginning of the 1990s saw the introduction of SMD, or "surface mounted device" componentry. SMD manufacturing techniques accelerated throughout the electronics industry to the point now where most mass-manufactured electronic devices are manufactured using SMD techniques. Today, only a small minority of manufacturers still use printed circuit boards with discrete removable components.

==Modern Effects==
We categorize "Modern" effects as anything dated 1990 and up to the present; and are built using most recent manufacturing methods (printed circuit boards, SMD) that are still currently and effectively used. Occasionally, boutique builders will use older methods, like tag boards and point-to-point wiring, but this has more to do with maintaining authenticity to the original methods as a selling point. It is our expectation that moving forward, that new manufacturing techniques, like 3D-printing will, in time, become the new "line" that separates "Vintage" from "Modern" gear.

Another notable difference in "modern" effects is the advent purely software-based (as opposed to hardware or real logic circuits) nature of digital effects. There are two main applications of these digital effects:

# Realtime use in the instrument signal-line, like the Line 6 Pod "[http://line6.com/pod20/ effect bean]",
# Post-recorded use in Digital Audio Workstations, or DAWs.

In a DAW, you typically take what has already been recorded and converted into a digital format. Once the digital file has been imported to the DAW into memory or on disk, it is a relatively trivial act to apply an already-built in effect (delay, reverb, etc...) to the file. This would be done so as to evoke different different sounds and therefore different emotions and reactions from the sound. Avid ProTools or Adobe Audition are great examples of Post-recording DAWs and are really used more for editing and production than for performance.

==Effects Listings==
====[[Effects by Function]]====
Effects listed by the function of the effect on a music signal.

----

====[[Effects by Manufacturer]]====
Effects as listed by company of manufacture.

----

====[[Thermionic Effects]]====
These are conventional effects owned by Thermionic Studios and available for rental.

----

====[[Resurrected Effects]]====
These are effects that, for most intents and purposes, are no longer available. These effects were never terribly successful in their day, but as antique models of these discontinued effects are rediscovered and used by new artists to create new sounds, there is growing demand for them again. These effects are being researched and reconstructed by DIY-and-boutique electronic effects shops, and individual pedal makers. The PCBs for these effects are being sourced by Thermionic Studios. Eventually the effects listed will all be built, tested, and available for rental. As new effects that are actually novel are being discovered and made available, we will also endeavor to make them available.

----

====[[Standalone Effect Devices]]====
Occasionally there are standalone devices that don't seem to fit into any other category. These could be vintage effects that eventually found their way into a pedal, these could be things that have a such physical size and a such unique sound that they have been kept for future use. In many, if not most cases, these effects don't necessarily exist any more because they've been replaced with smaller, more convenient, easier form factors (again, pedals or rack-mount effects), or it could include different methods of making the sound (like changing an analog effect to a digital one).

Wiki Standards

2017-08-10T16:44:40Z

Zcollier: /* Wiki Principles */

The world-famous [http://www.wikipedia.org Wikipedia] has a certain set of standards that the staff and volunteers enforce so as to make Wikipedia authoritative and respectable. There are also, of course, hidden crazy articles, and articles that are incomplete or don't quite live up to Wikipedia's standards, but continue to be hosted and displayed. This happens because the editorial staff, at some level, has decided that the non-conforming articles provide some minimum level of value.

We intend to run this wiki in a similar fashion.

While we will not use the same set of standards that Wikipedia uses, we will adhere to this published set of standards so that we will also be seen as honest brokers of what we believe to be accurate and reliable information.

Wikipedia most notably refuses for article authors to inform articles with their own personal knowledge. We will not use that standard. In fact, part of what we believe will make this a good and useful wiki is that the articles can and should reflect the experiences of the authors... within reason.

== Axioms ==
Axioms are assumptions we make about the universe that we accept as true. In this case, when we use the term "universe", we mean to refer to the Thermionic-Studios.com website. We do not claim for our axioms to be completely infallible, but we feel is it fair to use them for the purposes of having integrity with the work of this wiki.

# '''We have a point of view'''. We like certain kinds of music better than other kinds of music. We like Metal, Hard Rock, Psychedelic, Electric Blues, and other forms of "heavy music". Given this preference, we make no apologies for choosing not to cover other genres. If we should decide to cover other genres even if only minimally, we make no apologies for that either. This is our site, our community, and our choice. If you want your favorite country or hip hop music covered, create a website yourself and go do it. This is not and will not be a platform for "all music".
# Axiom #1 provides the perspective on and for our art. Through this perspective we will cover, create, edit, and update the content for this wiki.
# There is an objective truth to nature, the universe, and everything; but the only reliable means of getting to the objective truth is by use of [https://en.wikipedia.org/wiki/Fact#Fact_in_science objective facts]. The realm of objective truth and objective facts is the realm of science and while objective truth is not the highest value we're using for this wiki, it is up there, and it does serve to inform our perspective.
# There is no objective "best". "Best" speaks to values and therefore opinions, not facts, or reality. Individual human beings are imperfect. As imperfect beings, we have imperfect perceptions and these imperfect perceptions are the only tools available to us to conceptualize our personal, or subjective best. Every individual has his or her subjective best. Despite its inherent fallibility, the most reliable (not necessarily the easiest!) means of arriving at a subjective best is by use of objective facts guided by a subjective lens. It is the input of others that independently come to the same conclusions that help sharpen the focus of, and turn the subjective lens into an objective one.

; We want the best Heavy Music wiki.

== Wiki Principles ==
Here is a list of the principles and policy standards we want for this wiki. They flow from the above axioms, from our shared love of heavy music. They flow from the love and passion that other great musicians have, and the from musicianship supporting it.

* Wiki articles need to be about facts, rather than opinions. There will be occasional exceptions to this, but we expect for these exceptions to be rare. Please see below.

* Wiki articles are to be written and used as follows:
# To describe various pieces of equipment and their uses. Such wiki articles would also be expected to describe HOW to use a piece of equipment, the nature and use of the instrument and/or any controls, and to offer suggestions where in a signal chain a the described piece of equipment could be used.
# To describe the nature of music, or performance, or electric/electronic theory and any associated underlying principles. This could also include auditory theory (how the human ear hears things) along with physics (how a speaker vibrates).
# To describe different music artists and how these artists have used, and do use, various pieces of musical equipment, instruments, techniques, and effects to get their own unique sounds. Instances of artists using different or unique pieces of equipment in their signal chains, especially if unorthodox, are expected and valued.

* '''Articles discussing equipment should always be written based on a piece of equipment that offers a musician high value. Equipment that offers high value is always more important than equipment that demands a high price'''. Our editorial policy, to the extent that wiki articles are about equipment, will always endeavor for wiki articles to be about equipment that offers value, as opposed to equipment that offers prestige. Some pricey equipment can be bad; some inexpensive equipment can be great. While THIS TENDS NOT TO BE THE CASE, it will always be our primary endeavor to host wiki articles that are about equipment that delivers value to musicians.
** Despite what we've just said immediately above, we are aware that prestige and value are not mutually exclusive. In many instances it will not be possible to ignore equipment that, because it costs a lot, offers prestige. This will happen because the high value equipment we may cover may also offer high prestige. In such cases, we will not hesitate to offer wiki articles on such equipment. Great equipment is great equipment. There is a reason certain companies are recognized as great brands. The only warning in this respect will be that we do not write sales copy for other companies. If other companies wish to market their products, we do not contest their freedom to do so; but their freedom to do so does not exist within the pages of this wiki.

* Wiki article authors are not to use marketing-speak: There should be no qualitative assertions made. There should be no "best" pieces of equipment since "best" is subjective. Similarly ,there should be no "worst" pieces of equipment. If the author of a wiki article describing a piece of equipment wishes to either advocate for, or voice a complaint against, a particular piece of equipment, the means for doing so is to provide a link to an external article to such a review. That review can even be a journal or blog posting on the Thermionic Studios main site. This wiki itself is to house dispassionate, practical information and facts (the how), not emotional responses (the why). Judgments of great or crappy musical equipment are for the opinion pages. We have no problem describing great or crappy musical equipment as great or crappy, this wiki just isn't the main place for it.

* Rather than creating wiki articles about bad or inferior pieces of equipment and then simply, and exclusively, filling them with external links bemoaning their inferiority, our editorial policy prefers that we simply not write and host articles describing weak, cheap, inferior, or mediocre pieces of equipment. THERE ARE EXCEPTIONS. These exceptions will tend to be for:
# The occasional musical practice of the intentional use of inferior music equipment due to unique sonic/textural properties,
# Equipment development efforts that are so substandard that they result in almost-unusable equipment (This usually results in #1, above).
# Occasional Humor. There are cases when equipment is so shoddy, or business practices are so negligently or fraudulently over the top, they are fair game for calling out (Freekish Blues, anyone?).
: Exceptions must be vetted with the editorial staff because documentation of such exceptions MUST BE MEANINGFUL in the context of our mission. Exceptions not vetted with the editorial staff but posted anyway will be deleted as soon as possible, as soon as is discovered. Offending authors who are perceived as having deceptively engaged in this behavior will have their authorship privileges suspended or revoked at the discretion of the editorial staff.

* Wiki articles much be original work and cannot be cut-and-pastes of other works, unless such cut-and-pastes are provided as visible quotations and are properly attributed.

Of course, we reserve the right to update or change these principles and policies at our discretion. All changes will of course happen in the spirit of continuous improvement and for the purposes of providing more accurate, useful, and meaningful information.

Knowing the above, if you are a competent writer and researcher, and want to join us in this mission, we would love to hear from you!

Wiki Standards

2017-08-10T16:41:49Z

Zcollier:

The world-famous [http://www.wikipedia.org Wikipedia] has a certain set of standards that the staff and volunteers enforce so as to make Wikipedia authoritative and respectable. There are also, of course, hidden crazy articles, and articles that are incomplete or don't quite live up to Wikipedia's standards, but continue to be hosted and displayed. This happens because the editorial staff, at some level, has decided that the non-conforming articles provide some minimum level of value.

We intend to run this wiki in a similar fashion.

While we will not use the same set of standards that Wikipedia uses, we will adhere to this published set of standards so that we will also be seen as honest brokers of what we believe to be accurate and reliable information.

Wikipedia most notably refuses for article authors to inform articles with their own personal knowledge. We will not use that standard. In fact, part of what we believe will make this a good and useful wiki is that the articles can and should reflect the experiences of the authors... within reason.

== Axioms ==
Axioms are assumptions we make about the universe that we accept as true. In this case, when we use the term "universe", we mean to refer to the Thermionic-Studios.com website. We do not claim for our axioms to be completely infallible, but we feel is it fair to use them for the purposes of having integrity with the work of this wiki.

# '''We have a point of view'''. We like certain kinds of music better than other kinds of music. We like Metal, Hard Rock, Psychedelic, Electric Blues, and other forms of "heavy music". Given this preference, we make no apologies for choosing not to cover other genres. If we should decide to cover other genres even if only minimally, we make no apologies for that either. This is our site, our community, and our choice. If you want your favorite country or hip hop music covered, create a website yourself and go do it. This is not and will not be a platform for "all music".
# Axiom #1 provides the perspective on and for our art. Through this perspective we will cover, create, edit, and update the content for this wiki.
# There is an objective truth to nature, the universe, and everything; but the only reliable means of getting to the objective truth is by use of [https://en.wikipedia.org/wiki/Fact#Fact_in_science objective facts]. The realm of objective truth and objective facts is the realm of science and while objective truth is not the highest value we're using for this wiki, it is up there, and it does serve to inform our perspective.
# There is no objective "best". "Best" speaks to values and therefore opinions, not facts, or reality. Individual human beings are imperfect. As imperfect beings, we have imperfect perceptions and these imperfect perceptions are the only tools available to us to conceptualize our personal, or subjective best. Every individual has his or her subjective best. Despite its inherent fallibility, the most reliable (not necessarily the easiest!) means of arriving at a subjective best is by use of objective facts guided by a subjective lens. It is the input of others that independently come to the same conclusions that help sharpen the focus of, and turn the subjective lens into an objective one.

; We want the best Heavy Music wiki.

== Wiki Principles ==
Here is a list of the principles and policy standards we want for this wiki. They flow from the above axioms, from our shared love of heavy music. They flow from the love and passion that other great musicians have, and the from musicianship supporting it.

* Wiki articles need to be about facts, rather than opinions. There will be occasional exceptions to this, but we expect for these exceptions to be rare. Please see below.

* Wiki articles are to be written and used as follows:
# To describe various pieces of equipment and their uses. Such wiki articles would also be expected to describe HOW to use a piece of equipment, the nature and use of the instrument and/or any controls, and to offer suggestions where in a signal chain a the described piece of equipment could be used.
# To describe the nature of music, or performance, or electric/electronic theory and any associated underlying principles. This could also include auditory theory (how the human ear hears things) along with physics (how a speaker vibrates).
# To describe different music artists and how these artists have used, and do use, various pieces of musical equipment, instruments, techniques, and effects to get their own unique sounds. Instances of artists using different or unique pieces of equipment in their signal chains, especially if unorthodox, are expected and valued.

* '''Articles discussing equipment should always be written based on a piece of equipment that offers a musician high value. Equipment that offers high value is always more important than equipment that demands a high price'''. Our editorial policy, to the extent that wiki articles are about equipment, will always endeavor for wiki articles to be about equipment that offers value, as opposed to equipment that offers prestige. Some pricey equipment can be bad; some inexpensive equipment can be great. While THIS TENDS NOT TO BE THE CASE, it will always be our primary endeavor to host wiki articles that are about equipment that delivers value to musicians.
** Despite what we've just said immediately above, we are aware that prestige and value are not mutually exclusive. In many instances it will not be possible to ignore equipment that offers prestige. This will happen because the high value equipment we may cover also offers high prestige. In such cases, we will not hesitate to offer wiki articles on such equipment. Great equipment is great equipment. There is a reason certain companies are recognized as great brands. The only warning in this respect will be that we do not write sales copy for other companies. If other companies wish to market their products, we do not contest their freedom to do so, but doing so within the pages of this wiki is not to happen.

* Wiki article authors are not to use marketing-speak: There should be no qualitative assertions made. There should be no "best" pieces of equipment since "best" is subjective. Similarly ,there should be no "worst" pieces of equipment. If the author of a wiki article describing a piece of equipment wishes to either advocate for, or voice a complaint against, a particular piece of equipment, the means for doing so is to provide a link to an external article to such a review. That review can even be a journal or blog posting on the Thermionic Studios main site. This wiki itself is to house dispassionate, practical information and facts (the how), not emotional responses (the why). Judgments of great or crappy musical equipment are for the opinion pages. We have no problem describing great or crappy musical equipment as great or crappy, this wiki just isn't the main place for it.

* Rather than creating wiki articles about bad or inferior pieces of equipment and then simply, and exclusively, filling them with external links bemoaning their inferiority, our editorial policy prefers that we simply not write and host articles describing weak, cheap, inferior, or mediocre pieces of equipment. THERE ARE EXCEPTIONS. These exceptions will tend to be for:
# The occasional musical practice of the intentional use of inferior music equipment due to unique sonic/textural properties,
# Equipment development efforts that are so substandard that they result in almost-unusable equipment (This usually results in #1, above).
# Occasional Humor. There are cases when equipment is so shoddy, or business practices are so negligently or fraudulently over the top, they are fair game for calling out (Freekish Blues, anyone?).
: Exceptions must be vetted with the editorial staff because documentation of such exceptions MUST BE MEANINGFUL in the context of our mission. Exceptions not vetted with the editorial staff but posted anyway will be deleted as soon as possible, as soon as is discovered. Offending authors who are perceived as having deceptively engaged in this behavior will have their authorship privileges suspended or revoked at the discretion of the editorial staff.

* Wiki articles much be original work and cannot be cut-and-pastes of other works, unless such cut-and-pastes are provided as visible quotations and are properly attributed.

Of course, we reserve the right to update or change these principles and policies at our discretion. All changes will of course happen in the spirit of continuous improvement and for the purposes of providing more accurate, useful, and meaningful information.

Knowing the above, if you are a competent writer and researcher, and want to join us in this mission, we would love to hear from you!

Wiki Standards

2017-08-10T16:41:04Z

Zcollier: Zcollier moved page ⧼wikistandardspage⧽ to Wiki Standards: Bad Title in Footer link "<wikistandardspage>" is not acceptable.

The world-famous [http://www.wikipedia.org Wikipedia] has a certain set of standards that the staff and volunteers enforce so as to make Wikipedia authoritative and respectable. There are also, of course, hidden crazy articles, and articles that are incomplete or don't quite live up to Wikipedia's standards, but continue to be hosted and displayed. This happens because the editorial staff, at some level, has decided that the non-conforming articles provide some minimum level of value.

We intend to run this wiki in a similar fashion.

While we will not use the same set of standards that Wikipedia uses, we will adhere to this published set of standards so that we will also be seen as honest brokers of what we believe to be accurate and reliable information.

Wikipedia most notably refuses for article authors to inform articles with their own personal knowledge. We will not use that standard. In fact, part of what we believe will make this a good and useful wiki is that the articles can and should reflect the experiences of the authors... within reason.

== Axioms ==
Axioms are assumptions we make about the universe that we accept as true. In this case, when we use the term "universe", we mean to refer to the Thermionic-Studios.com website. We do not claim for our axioms to be completely infallible, but we feel is it fair to use them for the purposes of having integrity with the work of this wiki.

# '''We have a point of view'''. We like certain kinds of music better than other kinds of music. We like Metal, Hard Rock, Psychedelic, Electric Blues, and other forms of "heavy music". Given this preference, we make no apologies for choosing not to cover other genres. If we should decide to cover other genres even if only minimally, we make no apologies for that either. This is our site, our community, and our choice. If you want your favorite country or hip hop music covered, create a website yourself and go do it. This is not and will not be a platform for "all music".
# Axiom #1 provides the perspective on and for our art. Through this perspective we will cover, create, edit, and update the content for this wiki.
# There is an objective truth to nature, the universe, and everything; but the only reliable means of getting to the objective truth is by use of [https://en.wikipedia.org/wiki/Fact#Fact_in_science objective facts]. The realm of objective truth and objective facts is the realm of science and while objective truth is not the highest value we're using for this wiki, it is up there, and it does serve to inform our perspective.
# There is no objective "best". "Best" speaks to values and therefore opinions, not facts, or reality. Individual human beings are imperfect. As imperfect beings, we have imperfect perceptions and these imperfect perceptions are the only tools available to us to conceptualize our personal, or subjective best. Every individual has his or her subjective best. Despite its inherent fallibility, the most reliable (not necessarily the easiest!) means of arriving at a subjective best is by use of objective facts guided by a subjective lens. It is the input of others that independently come to the same conclusions that help sharpen the focus of, and turn the subjective lens into an objective one.

; We want the best Heavy Music wiki.

== Wiki Principles ==
Here is a list of the principles and policy standards we want for this wiki. They flow from the above axioms, from our shared love of heavy music. They flow from the love and passion that other great musicians have, and the from musicianship supporting it.

* Wiki articles need to be about facts, rather than opinions. There will be occasional exceptions to this, but we expect for these exceptions to be rare. Please see below.

* Wiki articles are to be written and used as follows:
# To describe various pieces of equipment and their uses. Such wiki articles would also be expected to describe HOW to use a piece of equipment, the nature and use of the instrument and/or any controls, and to offer suggestions where in a signal chain a the described piece of equipment could be used.
# To describe the nature of music, or performance, or electric/electronic theory and any associated underlying principles. This could also include auditory theory (how the human ear hears things) along with physics (how a speaker vibrates).
# To describe different music artists and how these artists have used, and do use, various pieces of musical equipment, instruments, techniques, and effects to get their own unique sounds. Instances of artists using different or unique pieces of equipment in their signal chains, especially if unorthodox, are expected and valued.

* '''Articles discussing equipment should always be written based on a piece of equipment that offers a musician high value. Equipment that offers high value is always more important than equipment that demands a high price'''. Our editorial policy, to the extent that wiki articles are about equipment, will always endeavor for wiki articles to be about equipment that offers value, as opposed to equipment that offers prestige. Some pricey equipment can be bad; some inexpensive equipment can be great. While THIS TENDS NOT TO BE THE CASE, it will always be our primary endeavor to host wiki articles that are about equipment that delivers value to musicians.
** Despite what we've just said immediately above, we are aware that prestige and value are not mutually exclusive. In many instances it will not be possible to ignore equipment that offers prestige. This will happen because the high value equipment we may cover also offers high prestige. In such cases, we will not hesitate to offer wiki articles on such equipment. Great equipment is great equipment. There is a reason certain companies are recognized as great brands. The only warning in this respect will be that we do not write sales copy for other companies. If other companies wish to market their products, we do not contest their freedom to do so, but doing so within the pages of this wiki is not to happen.

* Wiki article authors are not to use marketing-speak: There should be no qualitative assertions made. There should be no "best" pieces of equipment since "best" is subjective. Similarly ,there should be no "worst" pieces of equipment. If the author of a wiki article describing a piece of equipment wishes to either advocate for, or voice a complaint against, a particular piece of equipment, the means for doing so is to provide a link to an external article to such a review. That review can even be a journal or blog posting on the Thermionic Studios main site. This wiki itself is to house dispassionate, practical information and facts (the how), not emotional responses (the why). Judgments of great or crappy musical equipment are for the opinion pages. We have no problem describing great or crappy musical equipment as great or crappy, this wiki just isn't the main place for it.

* Rather than creating wiki articles about bad or inferior pieces of equipment and then simply, and exclusively, filling them with external links bemoaning their inferiority, our editorial policy prefers that we simply not write and host articles describing weak, cheap, inferior, or mediocre pieces of equipment. THERE ARE EXCEPTIONS. These exceptions will tend to be for:
# The occasional musical practice of the intentional use of inferior music equipment due to unique sonic/textural properties,
# Equipment development efforts that are so substandard that they result in almost-unusable equipment (This usually results in #1, above).
# Occasional Humor. There are cases when equipment is so shoddy, or business practices are so negligently or fraudulently over the top, they are fair game for calling out (Freekish Blues, anyone?).
: Exceptions must be vetted with the editorial staff because documentation of such exceptions MUST BE MEANINGFUL in the context of our mission. Exceptions not vetted with the editorial staff but posted anyway will be deleted as soon as possible, as soon as is discovered. Offending authors who are perceived as having deceptively engaged in this behavior will have their authorship privileges suspended or revoked at the discretion of the editorial staff.

* Wiki articles much be original work and cannot be cut-and-pastes of other works, unless such cut-and-pastes are provided as visible quotations and are properly attributed.

Of course, we reserve the right to update or change these principles and policies at our discretion. All changes will of course happen in the spirit of continuous improvement and for the purposes of providing more accurate, useful, and meaningful information.

Knowing the above, if you are a competent writer and researcher, and want to join us in this mission, we would love to hear from you!

⧼wikistandardspage⧽

2017-08-10T16:41:04Z

Zcollier: Zcollier moved page ⧼wikistandardspage⧽ to Wiki Standards: Bad Title in Footer link "<wikistandardspage>" is not acceptable.

#REDIRECT [[Wiki Standards]]

Wiki Standards

2017-08-10T16:40:10Z

Zcollier: Created page with "The world-famous [http://www.wikipedia.org Wikipedia] has a certain set of standards that the staff and volunteers enforce so as to make Wikipedia authoritative and respectabl..."

The world-famous [http://www.wikipedia.org Wikipedia] has a certain set of standards that the staff and volunteers enforce so as to make Wikipedia authoritative and respectable. There are also, of course, hidden crazy articles, and articles that are incomplete or don't quite live up to Wikipedia's standards, but continue to be hosted and displayed. This happens because the editorial staff, at some level, has decided that the non-conforming articles provide some minimum level of value.

We intend to run this wiki in a similar fashion.

While we will not use the same set of standards that Wikipedia uses, we will adhere to this published set of standards so that we will also be seen as honest brokers of what we believe to be accurate and reliable information.

Wikipedia most notably refuses for article authors to inform articles with their own personal knowledge. We will not use that standard. In fact, part of what we believe will make this a good and useful wiki is that the articles can and should reflect the experiences of the authors... within reason.

== Axioms ==
Axioms are assumptions we make about the universe that we accept as true. In this case, when we use the term "universe", we mean to refer to the Thermionic-Studios.com website. We do not claim for our axioms to be completely infallible, but we feel is it fair to use them for the purposes of having integrity with the work of this wiki.

# '''We have a point of view'''. We like certain kinds of music better than other kinds of music. We like Metal, Hard Rock, Psychedelic, Electric Blues, and other forms of "heavy music". Given this preference, we make no apologies for choosing not to cover other genres. If we should decide to cover other genres even if only minimally, we make no apologies for that either. This is our site, our community, and our choice. If you want your favorite country or hip hop music covered, create a website yourself and go do it. This is not and will not be a platform for "all music".
# Axiom #1 provides the perspective on and for our art. Through this perspective we will cover, create, edit, and update the content for this wiki.
# There is an objective truth to nature, the universe, and everything; but the only reliable means of getting to the objective truth is by use of [https://en.wikipedia.org/wiki/Fact#Fact_in_science objective facts]. The realm of objective truth and objective facts is the realm of science and while objective truth is not the highest value we're using for this wiki, it is up there, and it does serve to inform our perspective.
# There is no objective "best". "Best" speaks to values and therefore opinions, not facts, or reality. Individual human beings are imperfect. As imperfect beings, we have imperfect perceptions and these imperfect perceptions are the only tools available to us to conceptualize our personal, or subjective best. Every individual has his or her subjective best. Despite its inherent fallibility, the most reliable (not necessarily the easiest!) means of arriving at a subjective best is by use of objective facts guided by a subjective lens. It is the input of others that independently come to the same conclusions that help sharpen the focus of, and turn the subjective lens into an objective one.

; We want the best Heavy Music wiki.

== Wiki Principles ==
Here is a list of the principles and policy standards we want for this wiki. They flow from the above axioms, from our shared love of heavy music. They flow from the love and passion that other great musicians have, and the from musicianship supporting it.

* Wiki articles need to be about facts, rather than opinions. There will be occasional exceptions to this, but we expect for these exceptions to be rare. Please see below.

* Wiki articles are to be written and used as follows:
# To describe various pieces of equipment and their uses. Such wiki articles would also be expected to describe HOW to use a piece of equipment, the nature and use of the instrument and/or any controls, and to offer suggestions where in a signal chain a the described piece of equipment could be used.
# To describe the nature of music, or performance, or electric/electronic theory and any associated underlying principles. This could also include auditory theory (how the human ear hears things) along with physics (how a speaker vibrates).
# To describe different music artists and how these artists have used, and do use, various pieces of musical equipment, instruments, techniques, and effects to get their own unique sounds. Instances of artists using different or unique pieces of equipment in their signal chains, especially if unorthodox, are expected and valued.

* '''Articles discussing equipment should always be written based on a piece of equipment that offers a musician high value. Equipment that offers high value is always more important than equipment that demands a high price'''. Our editorial policy, to the extent that wiki articles are about equipment, will always endeavor for wiki articles to be about equipment that offers value, as opposed to equipment that offers prestige. Some pricey equipment can be bad; some inexpensive equipment can be great. While THIS TENDS NOT TO BE THE CASE, it will always be our primary endeavor to host wiki articles that are about equipment that delivers value to musicians.
** Despite what we've just said immediately above, we are aware that prestige and value are not mutually exclusive. In many instances it will not be possible to ignore equipment that offers prestige. This will happen because the high value equipment we may cover also offers high prestige. In such cases, we will not hesitate to offer wiki articles on such equipment. Great equipment is great equipment. There is a reason certain companies are recognized as great brands. The only warning in this respect will be that we do not write sales copy for other companies. If other companies wish to market their products, we do not contest their freedom to do so, but doing so within the pages of this wiki is not to happen.

* Wiki article authors are not to use marketing-speak: There should be no qualitative assertions made. There should be no "best" pieces of equipment since "best" is subjective. Similarly ,there should be no "worst" pieces of equipment. If the author of a wiki article describing a piece of equipment wishes to either advocate for, or voice a complaint against, a particular piece of equipment, the means for doing so is to provide a link to an external article to such a review. That review can even be a journal or blog posting on the Thermionic Studios main site. This wiki itself is to house dispassionate, practical information and facts (the how), not emotional responses (the why). Judgments of great or crappy musical equipment are for the opinion pages. We have no problem describing great or crappy musical equipment as great or crappy, this wiki just isn't the main place for it.

* Rather than creating wiki articles about bad or inferior pieces of equipment and then simply, and exclusively, filling them with external links bemoaning their inferiority, our editorial policy prefers that we simply not write and host articles describing weak, cheap, inferior, or mediocre pieces of equipment. THERE ARE EXCEPTIONS. These exceptions will tend to be for:
# The occasional musical practice of the intentional use of inferior music equipment due to unique sonic/textural properties,
# Equipment development efforts that are so substandard that they result in almost-unusable equipment (This usually results in #1, above).
# Occasional Humor. There are cases when equipment is so shoddy, or business practices are so negligently or fraudulently over the top, they are fair game for calling out (Freekish Blues, anyone?).
: Exceptions must be vetted with the editorial staff because documentation of such exceptions MUST BE MEANINGFUL in the context of our mission. Exceptions not vetted with the editorial staff but posted anyway will be deleted as soon as possible, as soon as is discovered. Offending authors who are perceived as having deceptively engaged in this behavior will have their authorship privileges suspended or revoked at the discretion of the editorial staff.

* Wiki articles much be original work and cannot be cut-and-pastes of other works, unless such cut-and-pastes are provided as visible quotations and are properly attributed.

Of course, we reserve the right to update or change these principles and policies at our discretion. All changes will of course happen in the spirit of continuous improvement and for the purposes of providing more accurate, useful, and meaningful information.

Knowing the above, if you are a competent writer and researcher, and want to join us in this mission, we would love to hear from you!

MediaWiki:Wikistandards

2017-08-10T16:39:13Z

Zcollier: Created page with "Wiki Standards"

Wiki Standards

MediaWiki:Mainpage

2017-08-10T07:56:09Z

Zcollier: Created page with "Thermionic Wiki"

Thermionic Wiki

2017-08-10T07:29:54Z

Zcollier: Zcollier moved page Main Page to Thermionic Wiki: "Main Page" is bad.

=Thermionic Studios=

Here we will explain how different popular (and not so popular) pieces of musical equipment work. We will discuss how amps work, how guitars and pickups work, how various pedals work, how different speakers work, and how each works in the context of a signal chain.

Where possible, we will identify artists, recording studios, and/or specific kinds of methods that use these different pieces of equipment, the order that these pieces might be arranged, and the purpose to which those pieces of equipment are used.

== Our Vision, Our Religion ==
You're unique; just like everyone else. As such, it follows that everyone else is unique; just like you. It goes without saying that it's impossible to exactly replace or imitate the fingers, feet, lungs, hands, and vocal chords of the people who actually created, create and perform our favorite music. It's possible to have a copy of every single piece of equipment as used by Eddie Van Halen, but don't expect that your fingers will enable you to sound exactly the same. Your cymbals and stands can be the very same models as Bill Ward's on Master of Reality. Don't expect for the crashes that come from your hands and arms to sound exactly like his. You can practice and practice and practice to sing and hit notes as powerfully as Merry Clayton[https://en.wikipedia.org/wiki/Gimme_Shelter]. You'll only ever get so close.

This reality can either be hugely disappointing, or hugely freeing. It depends on your perspective. We presume you're here for the same reasons we're here. We want to be better musicians. We want to help create and share music experiences that offer glimpses of transcendence. We want to live the satisfaction of a well-rehearsed piece of music executed expertly, appreciated by an excited, grateful, and jubilant audience. We want, like a whirling dervish, to experience this over and over. We want you to live this experience as well. And then we want you to share that experience with us. We want you to share that experience with the world.

Finding your way to sounding like '''*you*''' by first trying to sound like your heroes is perfectly acceptable. The greatest artists only came to running their own ultimate path by first learning to tread in the work of those who they loved before. The real question we want you to ask yourself: Is the endpoint of your journey a place where you are determined to sound like someone else? Or are you determined to make other people so love what you've done that they want sound like you?

Choose well. :)

[[Standards]]

==Sections==
* [[Amplifiers]]
* [[Effects]]
* [[Instruments]]
* [[Microphones]]
* [[Pickups]]
* [[Speakers]]
* [[Cabinets]]
* [[Mixers/Recording Equipment]]
* [[Artists]]
* [[Vacuum Tubes]]

----
'''Sources'''
* [https://en.wikipedia.org/wiki/Merry_Clayton Wikipedia:Merry Clayton]
* [http://www.youtube.com/watch?feature=player_detailpage&v=R3rnxQBizoU#t=160 YouTube:Best Backing Vocal Ever?]

Main Page

2017-08-10T07:29:54Z

Zcollier: Zcollier moved page Main Page to Thermionic Wiki: "Main Page" is bad.

#REDIRECT [[Thermionic Wiki]]

MediaWiki:Sidebar

2017-08-10T07:25:35Z

Zcollier:

MediaWiki:Sidebar

2017-08-10T07:24:54Z

Zcollier: Created page with "* navigation * Thermionic Studios ** http://stage.erebus-industries.com|Thermionic Main ** Thermionic_Wiki|Thermionic Wiki * Special ** recentchanges-url|recentchanges ** rand..."

Wah Inductors

2017-07-30T07:52:23Z

Zcollier: Created page with "{| align="right" | __TOC__ |} It seems a little unusual to have an article on just one part that goes into a wah-wah pedal. In fact, there are circuit designs for wah-wah..."

{| align="right"
| __TOC__
|}

It seems a little unusual to have an article on just one part that goes into a wah-wah pedal. In fact, there are circuit designs for wah-wah pedals that don't use an inductor. The reason so many wah-wah pedals have an inductor is because of the design and success of the first wah-wah pedal manufacturer: Thomas Organ Company. Thomas Organ employed the inventor of the Wah-wah, when he invented it: Brad Plunkett.

=== History ===
Brad took his design for the wah-wah pedal from a tone control that was part of another piece of equipment. It's believed this unmentioned piece was a keyboard amp. The wah-wah pedal, like most great inventions, came about completely as the result of an accident. In 1966, the owner of Thomas Organ, Joe Benaron, wanted to lower the cost of the Vox Super Beatle amp(and probably others).

On certain Vox amplifiers, including the Super Beatle, was a switch called the "MRB". This "MRB" switch stood for "Mid Range Boost". As you can imagine, it boosted the midrange frequencies. However, the cost of this switch was about $4.00 in 1966-1967.

Plunkett's task was to make the amps more profitable for Thomas Organ by lowering the cost on the amps. By redesigning the amp circuit to use a $0.20 potentiometer instead of a $4.00 switch (presuming the buying public would accept such a change), the amp would become more profitable...

One morning, in the span of about 4 hours, Plunkett had built a new variation of the previously-mentioned tone control into a sweepable tone control. After some experimentation in the office with this new control, it took on a life of its own. An unused treadle housing for a foot-swept volume control organ pedal was repurposed, and the first ever wah-wah pedal was born. Needless to say, this innovation captured the imagination of the people at Thomas Organ / Vox and it was released as a standalone product.

=== Impact ===
Most musical electronics professionals who've looked into the wah-wah pedal agree that the inductor, in and of itself, is not the most important piece of circuitry. It's clear from outside experimentation that adjusting other, more mundane pieces of the circuit can also have a large effect on a wah wah pedal's tone. However, since the inductor continues to capture the imagination of people around the music world as the "silver bullet" in a wah-wah pedal, we've decided to offer the "wah inductor" its own page.

=== Inductors ===
==== Dunlop ====
* Red Fasel Toroidal Core
* Yellow Fasel Cup Core
* Dunlop Halo
* Dunlop EVH
* Dunlop "Standard" Black

==== Joe Gagan ====
* Joe Gagan's Tone Tank
* Joe Gagan's 60s purple tone tank
* Joe Gagan's red tone tank

==== Arteffect.co ====
* Arteffect Halo
* Arteffect stack-of-dimes
* Arteffect stack-of-halos

==== MammothElectronics.com ====
* Mammoth Electronics ME-6

==== Dandyjob.com ====
* Dandyjob.com "Whipple" Halo

==== Fulltone.com ====
* Fulltone Silver Can Inductor

==== stuff to organize ====
* TDK 5103 "cube"
* Castledine Halo
* ArielFX Halo
* Chasetone.com "Stack of Dimes"

;Stuff to note and update:
# Dunlop "Standard" black cylinder - not seen a price, comes installed in base model dunlop wahwahs, can be gotten on eBay
# Dunlop "Yellow" cup-core - Price varies, seen low of $12.00 on tubesandmore.com, high of $20.00 from Dunlop
# Dunlop "Red" toroidal core - Price varies, seen low of $12.00 on tubesandmore.com, high of $20.00 from Dunlop
# Dunlop EVH "black signature" inductor - Price varies, seen low of $19.00 on Dunlop, high of $35.00 from eBay
# Whipple Halo Inductor - $27.00 dandyjob.com / eBay
# Arteffect.co Stack-of-Dimes inductor - $29.00, must await shipping from Israel
# Arteffect.co Halo Inductor - $31.00, must await shipping from Israel
# Arteffect.co Stack-of-halos - $25.00, must await shipping from Israel
# Joe Gagan's "Original El-Rad Tone Tank" - $22.77 on eBay. Joe Gagan has FB page, but no business website
# Joe Gagan's "Red Tone Tank" - $22.95 on eBay. Joe Gagan has FB page, but no business website
# Joe Gagan's "Purple 60s Vox Tone Tank" - $27.77 on eBay. Joe Gagan has FB page, but no business website
# TDK - 5103 inductor - Doesn't seem like it's available anymore except to be cannibalized from old electronic equipment - doesn't have a good reputation for musicality.
# Mammoth Electronics "ME-6" Inductor - $8.00 / Mammoth Electronics
# Fulltone "Silver Can" inductor - $49.00 / Fulltone.com
# Chasetone.com stack-of-dimes $17.99 / eBay

==Sites that Offer Wah Stuff==
* arteffect.co: home-spun inductors. Also sells pots.
* jimdunlop.com: Crybaby wahs
* ebay.com: Joe Gagan, Chasetone, Dandyjob Whipple
* area51tubeaudiodesigns.com: switches, pots, custom wah wahs
* realmccoycustom.com: Teese "RMC" boutique wah wahs
* chasetone.com: Wahs and other pedals, but no inductors. Inductors are just on eBay

----

;Sources
[https://www.youtube.com/watch?v=A0A8cPj_fPo Crybaby Doc: The Pedal That Rocks the World]

Wah-Wah

2017-07-30T07:52:01Z

Zcollier:

This is just some random "color" text that we found associated with wah-wah pedals. We wanted to keep it because of the reference to Jimi Hendrix's "Summer of Love Sessions" (1967) when he was learning how to use a wah-wah and the fact he used an Ampeg Reverberrocket amp:

[http://www.sgvmusic.com/index.php?option=com_content&view=article&id=116%3Ahistory-of-the-wah-wah&Itemid=88 SGVMusic History of the Wah-Wah]
"Very soon after, Frank (Zappa) showed it to Jimi Hendrix. In early July, Jimi went to Manny’s & bought one himself, also from the first batch in from Italy. At the time he was completing the long drawn out song Burning of The Midnight Lamp which was finally finished and mixed on July 20th, 1967. Jimi was also finishing up his commitments and recordings for Ed Chalpin. There are rare Wah Wah tracks of Jimi getting to know the new VOX Clyde McCoy Wah Wah Pedal through an Ampeg Reverberrocket amplifier."

====Wah-Wah Pedals====
* Thomas Organ / Vox Wah
* Thomas Organ Crybaby
* Vox 846
* Vox 847
* Dunlop Crybaby
* Morley Wah
* Tyco Brahe Parachute Wah

Other Treadled pedals that modify sound similarly:
* Colorsound Vocalizer

[[Wah Inductors]]

Wah-Wah

2017-07-30T07:50:57Z

Zcollier: Created page with "This is just some random "color" text that we found associated with wah-wah pedals. We wanted to keep it because of the reference to Jimi Hendrix's "Summer of Love Sessions"..."

Tony Iommi

2017-07-30T06:04:25Z

Zcollier: Created page with "Chairman of the Board ==Gear Used== * 1963 Gibson SG "Monkey" * Jaydee SG, "The Old Boy" * BC Rich Iron Bird * 1969 100-watt Laney Supergroup * Modified Dallas-Arbiter Treble..."

Chairman of the Board

==Gear Used==
* 1963 Gibson SG "Monkey"
* Jaydee SG, "The Old Boy"
* BC Rich Iron Bird
* 1969 100-watt Laney Supergroup
* Modified Dallas-Arbiter Treble Booster
* Custom Gibson SG (all black)
* Custom Gibson "Tony Iommi" pickup
* Mesa Boogie Mark IIC+
* [[Tycho Brahe]] Parachute Wah
* Boss OD-1 Overdrive
* [[Analog.Man]] Chorus
* Dunlop Rotovibe

Metal

2017-07-30T06:03:49Z

Zcollier:

We should probably just list the more common bands in here with links to individual band pages. Those band pages can list the members and then also list the more memorable members signal chains. Right now just a list of the guitarists isn't enough. Every member of a band has their own unique input and signal chain and this needs, to the best of our ability, to be documented. We need Drums, Guitar, Bass, Keyboards/Synth, etc.

If a great band has flutes, harmonica, etc, then those should be included as well.

(Just a list to start things off)
* Alice in Chains (move to Grunge)
* Black Sabbath
* Iron Maiden
* Dio
* Dokken
* Guns N Roses
* Motley Crue
* Orange Goblin
* Ozzy Osbourne
* [[Pantera]]
* Scorpions
* UFO
* Van Halen
* Whitesnake
* Yngwie Malmsteen
[[Tony Iommi]]

Thermionic Wiki

2017-07-30T05:50:21Z

Zcollier:

Roland

2017-07-30T05:47:48Z

Zcollier: Created page with "Roland Roland is a Japanese company that is a manufacturer of various kinds of musical gear. Keyboards, amplifiers, single- and multi-effects units are made by Roland. Rola..."

Roland

Roland is a Japanese company that is a manufacturer of various kinds of musical gear. Keyboards, amplifiers, single- and multi-effects units are made by Roland. Roland might be best known for their Boss brand of instrument effects pedals.

Recording Equipment

2017-07-30T05:45:02Z

Zcollier: Created page with "Recording Equipment is swell."

Recording Equipment is swell.

Mixers

2017-07-30T05:38:45Z

Zcollier: Created page with "Mixers are keen."

Mixers are keen.

Microphones

2017-07-30T05:37:37Z

Zcollier: Created page with "Oh boy. There's a lot to put here..."

Oh boy. There's a lot to put here...

Eddie Van Halen

2017-07-30T05:34:53Z

Zcollier: Created page with "Guitarist with band Van Halen. Known for tweaking gear and building custom guitar known as the "Frankenstrat". == Gear Used == * 1967 100-watt Marshall Plexi Superlead (SN#..."

Guitarist with band Van Halen. Known for tweaking gear and building custom guitar known as the "Frankenstrat".

== Gear Used ==
* 1967 100-watt Marshall Plexi Superlead (SN# 12301)
* The Frankenstrat
* MXR Phase 90
* MXR Flanger
* EP-3 Echoplex
* 6-band MXR Graphic EQ
* 10-band Boss Graphic EQ
* Rewound Gibson ES-335 humbucker (put into "Frankenstrat")
* Ibanez Destroyer
* Ibanez 1970s "Super Duper* humbuckers
* Stainless Steel guitar picks

Rock

2017-07-30T05:34:30Z

Zcollier:

* [[David Gilmour]]
* [[Eddie Van Halen]]

Deluxe

2017-07-30T05:32:06Z

Zcollier: Created page with "The Fender Tweed Deluxe is the iconic amp of 1950s Electric Blues. Category:Amplifiers Category:Fender Amplifiers Category:Tube Amplifiers"

The Fender Tweed Deluxe is the iconic amp of 1950s Electric Blues.

[[Category:Amplifiers]]
[[Category:Fender Amplifiers]]
[[Category:Tube Amplifiers]]

Rock

2017-07-30T05:30:27Z

Zcollier:

* [[David Gilmour]]

Billy Corgan

2017-07-30T05:29:42Z

Zcollier: Created page with "Billy Corgan is the main force behind the band Smashing Pumpkins. === Amplifiers === * Multiple Randall RM-4s with Modified Randall Modular Preamps === Modular Prea..."

Billy Corgan is the main force behind the band Smashing Pumpkins.

=== Amplifiers ===
* Multiple [[Randall]] [[RM-4]]s with Modified Randall Modular Preamps

=== Modular Preamps ===
Salvation Mods:
* Benzin
* Custom "clean" mod built for Smashing Pumpkins/Billy Corgan
* J-watt (Now C-Watt)
* Mista (now Mash-All+)
* Rhoadie
* Vamp

=== Pedals ===
* 4ms Atoner
* AnalogMan Beano Boost
* AnalogMan Bi-CompROSSor
* Boss BF-1 Flanger
* Boss CS-2 Compressor
* Boss CE-5 Chorus Ensemble
* Boss DM-1 Delay Machine
* Boss DM-3 Delay
* Boss DSD-2 Digital Sampler/Delay
* Boss HF-2 Hi-Band Flanger
* Boss SG-1 Slow Gear
* Boss SP-1 Spectrum
* Boss VB-2 Vibrato
* Cortez Phaser
* Devi Ever Rocket Fuzz
* Electro-Harmonix Bad Stone
* Electro-Harmonix Big Muff V3 w/tone bypass
* Electro-Harmonix Big Muff V4
* Electro-Harmonix Clone Theory
* Electro-Harmonix Electric Mistress Flanger
* Electro-Harmonix PolyPhase
* Fender Phaser
* Foxx Foot Phaser
* Fryer Brian May Treble Booster
* Fryer Brian May Treble Booster Plus
* Fulltone Robin Trower Overdrive
* GTC Super 72 Prototype (Billy refers to this as "The Bloody Finger")
* Ibanez SM-9 Super Metal
* Ibanez WH-10 Wah
* Jen Motorphaser
* Keeley Compressor
* Keeley Nova Wah
* Kurosawa The Fuzz
* Lovetone Ring Stinger
* Lovetone Wobulator
* Maestro Fuzz Tone FZ-1B
* Maestro Sustainer
* Maxon Jetlyzer
* Morley Deluxe Flanger (Die Cast Series, not sure its the Flanger)
* MSD PD-1 Paranoid Distortion
* Musitronics Mu-Tron Phasor II
* Musitronics Mu-Tron C-200 Volume-Wah
* Musonic VP-101 Variable Phaser
* MXR M-101 Phase 90
* MXR M-105 Phase 45
* MXR M-107 Phase 100 Phaser
* MXR EVH-117 EVH Flanger
* MXR M-142 Distortion II
* Prescription Electronics Experience
* Red Witch Empress Chorus
* Red Witch Fuzz God II
* Roger Mayer Mongoose Fuzz
* Roland AP-2 Phase II
* Roland AP-5 Phase Five
* Roland AD-50 Double Beat
* Roland AF-60 BeeGee
* Sam Ash Fuzzola
* Shin-Ei ME-7 Multi-Effects Wah
* Shin-Ei Fuzz Wah
* Sola Sound Tone Bender Professional MK II (possibly the 2009 reissue)
* Throbak Fuzz Haze
* Vox Phaser
* Vox V828 Tone Bender
* Vox Tone Bender MK III by Colorsound
* ZVex Fuzz Factory
* ZVex Machine
* ZVex Woolly Mammoth

----
;Sources:
* [http://www.youtube.com/watch?v=YZemTcTyJKs "Stompland" youtube video where Billy shows off pedals] - No longer available
* [https://forum.guitar.com/complete-rig-25/billy-corgan-shows-pedal-collection-224480 Guitar.com "Stompland" thread with list]

Rock

2017-07-30T05:29:09Z

Zcollier:

* [[David Gilmour]]

[[Billy Corgan]]

Distortion

2017-07-30T05:22:52Z

Zcollier: Created page with "Truthfully, there's no hard line that separates overdrive from distortion from fuzz. They all kind of hang out in this nebulous world of spillover from a auditory stan..."

Truthfully, there's no hard line that separates [[overdrive]] from distortion from [[fuzz]]. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If looking at the manner in which the signal is manipulated to get the "clipped signal", it might be easier to arrive at a place where the distinction between the terms makes a difference.

Similar to overdrive and fuzz, distortion is the modification of a sound wave such that peaks of the sound wave are "squared off". Doing so creates higher-order harmonics. This differs from overdrive and fuzz: by the degree of squaring, by the number of frequencies that are "squared off", and the nature of how the squaring occurs.

Distortion is most generally described as a clipped electric instrument signal, typically with both halves of the sine wave of the music signal being clipped. This differs from overdrive in that an overdriven signal tends to have only the "bottom" of the sine wave squared off while the top remains unchanged. However, like overdrive, Distortion tends to have an asymmetry in the top and the bottom of the sine wave. This asymmetry means that the while the peaks of both the top and the bottom of the waveform are clipped, they are clipped resulting in different shapes, or different amounts.

This clipping on both halves of the waveform results in both even-order and odd-order harmonics being generated: Typically created when a signal is amplified beyond the ability of the amplification device (tube or transistor) to functionally handle the desired level of amplification. It is this phenomenon, the attempt to amplify beyond the capacity of the amplification device, that causes the signal to be clipped.

This is also where we get the term "Gain". Gain isn't necessarily the same thing as distortion, however the two are often used interchangeably. Gain is simply the act of boosting a signal. The waveform clipping occurs when the device cannot handle the amount of signal going through the device.

Diodes can also be used to clip a waveform, but because this clipping isn't the result of a failure to meet the functional specification of the electronic device, it's not associated with "Gain".

It's certainly possible for an amplification device to amplify a signal and then for that signal to be fed into diodes which clip them. In fact, this is really the only way you can get diodes to clip. It's a subtle distinction, and in terms of the electronics, it may not be meaningful, but this difference is essentially the difference between "fuzz" and "distortion".

==Distortion Pedals==
* [[ProCo Rat|The Rat]]
* [[The Womanizer]]
* [[The Demonizer]]
* [[Solid Metal]]
* [[SS11B Modern]]

==Revered Amps==
* Mesa Boogie Mark III
* Laney AOR 100
* Sovtek H100

Overdrive

2017-07-30T05:22:17Z

Zcollier: Created page with "There's no hard line that separates overdrive from distortion from fuzz. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If l..."

There's no hard line that separates overdrive from [[distortion]] from [[fuzz]]. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If looking at the manner in which the signal is manipulated to get the "clipped signal", it might be easier to arrive at a place where the distinction between the terms makes a difference.

Overdrive, as we understand the definition, is a clipped instrument signal, typically with only one half (the bottom half) of the waveform of the music signal being clipped. This results in only even-order harmonics being generated. Also characterized by a "soft" type of clipping applied to sine wave with the edges of the clipped signal being rounded as opposed to hard-angled (when viewed in an oscilloscope).

== Overdrive Pedals ==
* Maxon OD-9
* Ibanez TS-9
* Boss BD-2 Blues Driver
* Boss SD-1 Super Overdrive

== Amps known for Overdrive ==
* Fender 5E3 Tweed "Deluxe"
* Fender 5F1 "Champ"
* Marshall JTM-45
* Marshall JTM-45/100

Drums

2017-07-30T05:20:39Z

Zcollier: Created page with "Drums are likely humanity's second oldest music instrument. (The single oldest would undoubtedly be voices) ===Drum Parts=== ===Drum Types=== ===Drum Materials==="

Drums are likely humanity's second oldest music instrument. (The single oldest would undoubtedly be voices)

===Drum Parts===

===Drum Types===

===Drum Materials===

Fuzzdog Pedals

2017-07-30T05:18:33Z

Zcollier:

Here are pedal kits that are/were offered by Fuzzdog in the UK. We take no position on the kits and PCBs that Fuzz Dog makes available. We have purchased a number of PCBs from Fuzzdog in order to make certain vintage pedals available for rental. We do not believe in undercutting existing pedal manufacturers to get a "cheaper" version of a pedal currently in the marketplace that you might want. If you want a pedal that makes a certain sound and that pedal is still in production, we advise you purchase that pedal. It's actually easier and less expensive to do so if you haven't already invested in proper soldering and electronic equipment. If you're interested in getting a PCB or a kit for the educational value of doing so, we believe building pedals from kits is perfectly acceptable.

Despite our moralizing and finger-wagging, if there are vintage pedals that you're looking to get and they're either not available or perhaps they're only available because they are rare and expensive, we think it's entirely reasonable to not want to not spend stupid amounts of money for something that may or may not sonically do what you want. There are other cases wherein a pedal was made with a very small distribution, or was made in a small batch for a particular artist (like the Brian May Treble Boost, for example). In these cases as well, we endorse the recreation of pedals and/or effects abandoned by the original manufacturer.

In any event, there are a number of pedals that are interesting that are no longer available from the manufacturer that developed them. In these cases, you would be well advised to either rent our version, or, if you wanted to make a bigger investment, to build your own.

{| class="wikitable" style="float:left; margin-right:20px; background-color:#eeffee;" cellpadding="10"
!colspan="2"|Fuzz Dog's Pedal Kits
|-
! Fuzz Dog Clone Name || Original Effect Name
|-
| Acti-Boost Type A || Xotic Effects AC Booster
|-
| Acti-Boost Type R || Xotic Effects RC Booster
|-
| AstroTone Fuzz || Sam Ash Fuzzz Box
|-
| Axis Fuzz || Roger Mayer Axis Fuzz
|-
| Ball Breaker || Marshall Blues Breaker
|-
| Bass Pig || EHX Hog’s Foot
|-
| Bee Juice || Mad Professor Sweet Honey
|-
| Big Beefy Preamp || Xotic Effects BB Preamp
|-
| Big Fat Balls || EHX Bass Balls
|-
| Big Muff Pi || EHX Big Muff
|-
| Big Skweez || Dan Armstrong Orange Squeezer
|-
| Bionic Guzz Fun || Death by Audio Supersonic Fuzz Gun
|-
| Blaster || Alembic Stratoblaster
|-
| Blue Fool || MXR Blue Box
|-
| Boner Boost || Z.Vex Super Hard-On
|-
| BrassMaster || Maestro Brass Master
|-
| Brian May Treble Boost || Brian May Treble Booster
|-
| BSIAB2 || BSIAB2
|-
| BuzzAround || Burns Buzzaround
|-
| Candyman Overdrive || Paul Cochrane Timmy
|-
| Chilly Biscuit Distortion || Crowther Hot Cake
|-
| Clay Jones Overdrive || Landgraff Dynamic Overdrive / Clay Jones Overdrive
|-
| Clock of Tone || Lovepedal Church of Tone 50
|-
| [[Condor Cab Sim]] || Runoff Groove Condor Cabinet Simulator
|-
| Cream Buff || Pete Cornish LD-1 Line Driver
|-
| [[Creme Fluff Fuzz]] || Frantone Cream Puff Fuzz
|-
| [[Dirt Dessert]] || Crowther Audio Prunes & Custard
|-
| Disorder Drive || Fulltone OCD
|-
| Double-Down Boner Boost || ZVEX Super Duper 2-In-1 Dual Boost
|-
| Dumb Lloyd || Shin’s Dumbloid
|-
| Echo Blue || Mad Professor Deep Blue
|-
| EMPathy Drive || Emerson Em Drive
|-
| Enlightened Drive || Hermida Zendrive
|-
| EPic Boost || Xotic Effects EP Booster
|-
| Faze 90 || MXR Phase 90
|-
| Filthy Fack || Z.Vex Fuzz Factory
|-
| Finger of Fuzz || Penny Pedals Fingerprint
|-
| Flender || Fender Blender
|-
| FoxxTave || Foxx Tone Machine / Fulltone Ultimate Octave
|-
| Fuzz Face || Dallas Arbiter Fuzz Face
|-
| Fuzzy Muff || EHx Muff Fuzz
|-
| [[Gimp FX Ultr-Fk Fuzz]] || Mountain King Megalith
|-
| Gloomy Drive || Univox Uni-Drive
|-
| Graphic Fuzz || Earth Sound Fuzz
|-
| Greasy Tool || Z.Vex Machine
|-
| [[Harmonic Perculator]] || Interfax HP-1 Harmonic Percolator
|-
| [[HF Modulator]] || Jen HF Modulator
|-
| Hot Snake || Catalinbread Naga Viper
|-
| Jordan Bosstone || Jordan Bosstone
|-
| Joy Drive || Wampler Ecstacy
|-
| Klon Buffer || Klon Buffer
|-
| Klone || Klon Centaur
|-
| Lil Louie || Lovepedal Les Lius
|-
| Little Screamer || AMZ Son of Screamer
|-
| Llamatron || Way Huge Red Llama
|-
| LPB Boost || EHX LPB2
|-
| MegaHIWatt || Catalinbread WIIO / RAH
|-
| MicroAmp || MXR Microamp
|-
| Mosrite Fuzz Rite || Mosrite Fuzzrite
|-
| Mucky Hush Overdrive || Catalinbread Dirty Little Secret
|-
| Orange Squeezer Compressor || Dan Armstrong Orange Squeezer
|-
| P45 || MXR Phase 45
|-
| Para Drive || Emerson Paramount Overdrive
|-
| Peachy Fuzz || Frantone Peach Fuzz
|-
| Plexi Distortion || Lovepedal Purple Plexi
|-
| Quack Machine || EHX Q-Tron / Dr. Quack
|-
| Quiet Boost || Z.Vex SHO (sans crackle)
|-
| Range Master || Dallas Rangemaster
|-
| Raw Fuzz || Death by Audio Fuzz War
|-
| Rock Box || Z.Vex Box Of Rock
|-
| Rodent || Pro Co Rat
|-
| ROG Condor || Runoff-Groove Condor Cab Sim
|-
| Ruckus || Suhr Riot
|-
| Scrambler || Ampeg Scrambler
|-
| Shin-Ei FY2 Companion || Shin Ei Companion Fuzz
|-
| Shouting Bird || EHX Screaming Bird
|-
| Shred Meister || Marshall Shredmaster
|-
| Skwisher || Ross Grey Compressor
|-
| Square Wave Fuzz || Univox Square Wave Fuzz
|-
| The Guv || Marshall Guv’nor
|-
| The Verb Box of Hall || Beltron BTDR-2
|-
| Throb || Schaller Tremolo
|-
| Thug || D*A*M Meathead
|-
| Tone Bender Pro Mk II || Colorsound Tonebender
|-
| Tone Bender Mk III || Colorsound Tonebender
|-
| Toxic Minx || MXR Distortion+
|-
| Tube Screamer || Ibanez TS-808
|-
| Univox Super Fuzz || Univox Superfuzz
|-
| Vintage Pow || Colorsound Overdrive
|-
| [[Vox Percussion Tremolo]] || Vox Percussion Tremolo
|-
| [[War Pig]] || Catalinbread Sabbra Cadabra
|-
| [[Warp Sound Fuzz & Filter]] || Vorg/Pearl Warp Sound
|-
| Wobbler || Electronics Australia Tremolo
|-
| Wrecktifier || Wampler Triple Wreck
|}

This list is not the most recent review of the site and the "clone" pedals that Fuzzdog offers. This is a list that was pulled originally from a British site with a discussion thread called [http://www.thefretboard.co.uk/discussion/15803/poodle-pedal-parts-emporium-decoded The Fretboard: Poodle Pedal Parts Emporium Decoded]. This list includes a number of currently-being-produced effects. We do not agree with this practice, but this is Fuzzdog's business to run, not ours.

This list is being recreated and provided here (and occasionally updated) for no other use than for us here at Thermionic Studios to reference. It may also serve to help provide guidance if someone is looking to recreate a vintage pedal that's no longer in production and is looking to find the means for doing so.

George Lynch

2017-07-30T05:17:46Z

Zcollier: Created page with "Guitarist with Dokken and Lynch Mob and several different independent projects. Notorious for being an "endorsement-" and "gear-whore". == Gear Used == * Mighty Mite Map..."

Guitarist with Dokken and Lynch Mob and several different independent projects. Notorious for being an "endorsement-" and "gear-whore".

== Gear Used ==
* [[Mighty Mite]] Maple slab body tiger-stripe (having had many different necks) guitar
* [[ESP]] Custom "Kamikaze" guitar
* ESP Custom Rainbow Burst Tiger Stripe guitar
* ESP Custom "Haji" guitar
* [[Randall]] RG-80 and RG-100 amps
* Original [[Ibanez]] Tube Screamer
* Cusack Screamer
* MXR Phase 90
* [[Celestion]] Custom "Lynchback" speakers
* Randall RM-100 "Lynch Box"
* Randall custom "Brahma" MTS Module
* Randall custom "Grail" MTS Module
* Randall custom "The Judge" MTS Module
* Randall custom "Mr. Scary" MTS Module
* Randall custom "Super V" MTS Module
* [[Seymour Duncan]] [["SuperV" pickup| SuperV Pickup]]
* Seymour Duncan "Screamin' Demon" pickup
* Seymour Duncan "Pearly Gates" pickup
* DiMarzio "Super Distortion" pickup
* 1968 [[Marshall]] 100-watt 1968 Superlead amplifier
* Boss OC-2 Octave pedal
* Fulltone Deja-vibe pedal
* Boss CE-5 Chorus pedal (older analog version)
* [[Zoom]] G2G George Lynch multi-effects pedal

[[Category: Guitarists]]

Fuzzdog Pedals

2017-07-30T05:16:48Z

Zcollier:

David Gilmour

2017-07-30T05:15:09Z

Zcollier:

Wikipedia image of some of Gilmour's gear:

[https://upload.wikimedia.org/wikipedia/commons/a/a8/Expo_Pink_Floyd_-_gilmour_effects_rack.png]

* Rackmount Univibe

Pedals:
* Boss CS-2 Compression Sustainer
* Ross / MXR Compressor / Dynacomp
* Pro Co Rat
* Ibanez DM-9 Analog Delay
* Can't see what pedal is next
* Boss Heavy Metal or Digital Metalizer
* Boss GE-7 Graphic EQ
* Butler / Chandler Tube Driver

* Cornish G-2
* Civil War Big Muff
* Butler / Chandler Tube Drive
* Boss GE-7 Graphic EQ
* Boss GE-7 Graphic EQ
* Boss GE-7 Graphic EQ

Fuzzdog Pedals

2017-07-30T05:13:56Z

Zcollier: Created page with "Here are pedal kits that are/were offered by Fuzzdog in the UK. We take no position on the kits and PCBs that Fuzz Dog makes available. We have purchased a number of PCBs fr..."

David Gilmour

2017-07-30T05:13:15Z

Zcollier:

Fuzz

2017-07-30T05:10:34Z

Truthfully, there's no hard line that separates [[overdrive]] from [[distortion]] from fuzz. They all kind of hang out in this nebulous world of spillover from a auditory standpoint. If looking at the manner in which the signal is manipulated to get the "clipped signal", it might be easier to arrive at a place where the distinction between the terms makes a difference.

Clipped instrument signal, typically with both halves of the sine wave of the music signal being clipped. This results in even-order and odd-order harmonics being generated. : What tends to separate the clipping of Fuzz from Overdrive or Distortion is that the clipping is not achieved by over-amplification in a tube or transistor, but that the clipping is done by employing either a single limiting diode, or pair of limiting diodes in the circuit. These diodes serve to truncate the tops and the bottoms of any musical sine wave going through this particular circuit. In extreme situations this can result in what is known as an audio "square wave".

== Fuzz Pedals ==
* Dallas Arbiter Fuzz Face
* Colorsound Tonebender
* Gibson Maestro FZ-1 Fuzz
* Electro-Harmonix Big Muff Pi

----

'''Sources'''

[http://hewittsgaragestudio.com/fuzz-timeline.php Hewitt's Sound Garage:Timeline of Fuzz devices]

Fender Super Reverb

2017-07-30T05:08:40Z

Zcollier: Created page with "Introduced in late 1963, the Super Reverb used a pair of 6L6 output tubes and a 5U4 rectifier to pump 45 watts into a quartet of Jensen 10" alnico-magnet speakers. The Super R..."

Introduced in late 1963, the Super Reverb used a pair of 6L6 output tubes and a 5U4 rectifier to pump 45 watts into a quartet of Jensen 10" alnico-magnet speakers. The Super Reverb’s link to the famous 4x10 Bassman of 1959 is obvious (more so than to the 2x10 Super of 1947), however, with its reverb and tremolo (or “vibrato” as Fender called it), dual channels with independent controls, and tilt-back legs, the Super Reverb was a far more advanced design that would sit just below the flagship Twin Reverb in Fender’s mid-’60s combo lineup. The Super Reverb incorporated a photoresistor-based tremolo circuit (as opposed to more complex tube-oscillator trem circuit used on some of the earlier “brownface” amps), and its spring reverb used both sides of a 12AT7 dual triode for drive and recovery.

Following the transition to a silver front panel and blue-sparkle grille around 1968, the cabinet was slightly enlarged—the top and bottom speaker pairs were also shifted respectively to the left and right—and, in an attempt to clean up the sound, the bias circuit was reworked and a hum-balance control was fitted to the rear panel. Fender saw fit to undo some of these circuit changes a year later, and, in 1970, the cabinet was downsized a bit, and a 3-position ground switch was added. The mid ’70s saw the addition of a master volume and a pull-boost boost function. In 1981 the amp was given blackface cosmetics , a line-out jack, and a Middle control for the Normal channel. The Super Reverb was phased out in 1982, essentially replaced by the II series 4x10 Concert. The early Super Reverbs remained popular among blues players, however, and Stevie Ray Vaughan certainly gets the lion’s share of the credit for the Super’s ascension into realm of super-collectable blackface Fenders.

In response to the popularity of this classic combo, Fender introduced the 65 Super Reverb ($1,699 retail/$1,189 street) to its Vintage Reissue series in 2004. The new amp looks much like an original 1965 model, though it does differ in having modern PC board circuitry and components (as opposed to the original amp’s handwired circuit and vintage-spec carbon-comp resistors and electrolytic filter caps), a plywood cabinet (instead of the solid pine of the original), no AC convenience outlet, and no ground switch. In most other regards, however, the 65 Super Reverb is functionally identical the original model.

So why are people willing to spend more money and go to more trouble to buy a vintage Super Reverb? Undoubtedly, owning a piece of early Fender history is a large part of it. Just knowing that these amps were built in the original Fullerton factory and that their circuits and cabinets were hand assembled by people who watched black & white TVs and drove to work in Ford Falcons and Chevy Novas is enough to summon the urge to splurge. Then there’s the larger question of tone, as it’s almost universally accepted that older means better.Then there’s the larger question of tone, as it’s almost universally accepted that older means better. But is that really the case? To find out we pitted a new 65 Super Reverb up against a mostly original 1964 model. By “mostly” I mean that the ’64’s original Jensen speakers have been replaced—probably more than once in its 43 years. It was equipped with a set of well used Eminence Legend alnico 10s, which we used for our initial testing before swapping in a set of Kendrick Black Frame ceramic-magnet 10s. These speakers sport U.S.-made 3KSP 92-lb paper cones made by Donal Kapi of Chicago, which were pressed on the original Jensen P10R tooling die.

It’s easy to see how two amplifiers that were built so many years apart would sound different (for the record, both amps were biased to an idle- current draw of 33 milliamps, using a Weber Bias Rite meter), but there are definitely things that would draw various players to either one. For example, some testers preferred the mellower response of the ’64, while others liked the tighter, brighter, and more easily overdriven sound of the reissue. I had to put the old amp’s Vibrato channel Volume knob on 10 to equal the amount of distortion being produced by the reissue amp with its Volume on 7. Part of this difference is due to the fact that the new amp uses 12AX7s entirely in its preamp, while the oldie has four 12AX7s and two lower gain 12AT7s (as specified in the amp’s onboard tube chart). A more curious thing noticeable on the reissue was occasional “ghost” harmonics that emerged on some notes when the amp was played at very high volumes. This was not detectable on the ’64, which, by the way, was fitted with fresh Sprague filter caps in its power supply.

Effects-wise, the two amps differed significantly. The tremolo sounded substantially stronger in the 65 reissue—I had to peg the ’64’s Intensity control to get even close to the depth of the reissue’s tremolo with its Intensity control on five. There were speed issues as well. The reissue’s trem could go much slower than the ’64’s—and faster too—with better clarity and definition. The reverb on the new Super also sounded brighter and more reflective, though, I’ll admit to preferring the darker, less intense sound of the ’64’s ’verb, which added a warm airiness to the tones without sounding too effecty.

The speakers made a big difference here too, which was easy to hear when running the old amp initially through the reissue’s Jensen-loaded speaker cabinet. Instantly, the ’64 sounded, well, newer, as its voice assumed some of the tight, crispness of the reissue amp. Conversely, the 65 reissue sounded a little rounder and smoother when played though the ’64’s cabinet. Bigger differences ensued after installing the Kendrick speakers in the vintage Super, which responded with throatier tones that offered more midrange presence and less top-end frazz. These speakers worked particularly well when going for more overdriven tones, making it easy to get balanced, muscular sounds without the brights jumping out so aggressively when digging into the strings on a Gibson Les Paul and a Fender Tele. The 65 Super Reverb responded similarly when played through the Kendrick speakers using the same axes.

The differences we noticed between the two amps were not deal breakers. While the ’64 displayed some sweeter and more complex tonal colors, the reissue proved a satisfying player in own right, delivering more aggressive lead tones and more wide-ranging and responsive effects. I suppose it comes down to this: If you land on a vintage Super Reverb at a price you can hack (the current range is around $1,600 to $2,100), and you’re prepared to perform the upgrades and ongoing maintenance necessary to make it sound great and operate reliably, then go for it. You’ll own one of the best blues-rock amps ever made, as well as a living, breathing piece of Fender’s storied past. On the other hand, if you prefer the simplicity and peace of mind that comes with buying something new, the 65 Super Reverb will not disappoint. You can take this amp straight to a gig and have a great time with it—leaving the door open for future experimenting with different tubes, speakers, and other components if you wish to enhance its capabilities.

From: [http://www.guitarplayer.com/amplifiers/1017/3965-fender-super-reverb-reissue-vs-1964-fender-super-reverb/16851| Guitar Player Magazine - Super Reverb]

Resurrected Effects

2017-07-30T05:05:49Z

Zcollier: Created page with "These are effects that, for most intents and purposes, are no longer available. These effects were not always successful in their day (but some were...). As antique models of..."

These are effects that, for most intents and purposes, are no longer available. These effects were not always successful in their day (but some were...). As antique models of these discontinued effects are rediscovered and used by new artists to create new sounds, there is some measure of growing demand for them again. These effects are being researched and reconstructed by DIY-and-boutique electronic effects shops. The PCBs for these effects are being sourced by Thermionic Studios. Eventually the effects listed will all be built, tested, and available for rental. As new effects that are actually novel are being discovered and made available, we will also endeavor to make them available.

* Colorsound Vocalizer
* Pearl/Vorg Warp Sound
* Baldwin-Burns Buzzaround
* Dunlop CSP-001 Variphase
* Whiteface Rat
* Tyco Brahe Parachute Wah
* Boss SG-1 Slow Gear
* Electro-Harmonix Attack Decay
* Shin-ei / Univox / Dunlop Univibe

Damage Control

2017-07-30T05:03:56Z

Zcollier: Created page with "Damage Control Inc. is now known as Strymon. Damage Control first came to market with their vacuum tube effects pedals. We were immediately captured with their company visio..."

Damage Control Inc. is now known as Strymon.

Damage Control first came to market with their vacuum tube effects pedals. We were immediately captured with their company vision.

Their effects pedals, while considered unwieldy (due to the fact that they consumed a lot of pedalboard space) are also very highly regarded due to their function and high-fidelity sound properties. There was a particular function that was incorporated into Damage Control pedals that we don't quite understand: "The Magic Eye". At the top and center of all Damage Control pedals is a color-changing "Magic Eye". While the Magic Eye is novel, we really consider it unnecessary. The Magic Eye doesn't in any way that we can see, assist a performer with his or her performance, nor does it modify the sound properties of the signal flowing through it.

While this is an imaginative addition to an effect pedal's appeal, there's not much in the way that we can see that this function assists the artist in helping extend his or her craft. We would have rather have seen the Damage Control company apply the thought effort and the monetary effort that was applied to the "Magic Eye" into better electronic signal paths, and better and less expensive manufacturing processes. When the company, Damage Control, USA, became "Strymon", they made this exact pivot, but (unfortunately, in our eyes), also changed their focus into digital effects, abandoning their efforts into tube effects.

Despite our criticisms, we think Damage Control pedals are excellent and people should always be on the lookout for opportunities to obtain and use these unique and great-sounding pedals.

We have endeavored to collect a few meaningful Damage Control pedals to make available for use by up-and-coming bands and artists.

== Pedals We Have Available ==
* [[The Demonizer]]
* [[Solid Metal]]
* [[The Womanizer]]

Thermionic Effects

2017-07-30T04:58:16Z

Zcollier: Created page with "Here is a list of the effects available for rent from Thermionic: {|align=right |__TOC__ |} ==AMT== * E1 Engl Preamp * SS-11B Modern Tube Preamp ==Boss / Roland==..."

Here is a list of the effects available for rent from Thermionic:

{|align=right
|__TOC__
|}

==AMT==
* [[E1]] Engl Preamp
* [[SS-11B]] Modern Tube Preamp

==Boss / Roland==
* [[CE-5]] Chorus Ensemble (Analog) (out of production)
* [[DN-2]] DynaDrive (out of production)
* [[DD-3]] Digital Delay (made in Japan - out of production)
* [[DD-20]] GigaDelay
* [[OC-2]] Octave (out of production)
* [[RC-2]] Looper (out of production)
* [[TU-3]] Tuner
* [[XT-2]] Xtortion (out of production)

==BYOC / Build Your Own Clone==
* [[Amp Selector]] kit
* [[Lazy Sprocket]] kit
* [[Phase Royal]] kit
* [[Triboost]] kit (out of production)

==Catalinbread==
* [[Manx Loaghtan]] Big Muff Pi with enhanced tone control (out of production)
* [[Naga Viper]] Treble Booster
* [[SCOD]] Super Charged Overdrive (Orange) (out of production)
* [[SFT]] SVT Emulator (Ampeg)

==Damage Control / Strymon==
* [[Demonizer]] (High Gain Tube Preamp) (out of production)
* [[Solid Metal]] (Highest Gain Tube Distortion pedal) (out of production)
* [[Womanizer]] (Classic Tube Preamp) (out of production)

==Digitech / DOD==
* [[Grunge]]
* [[Hyper Phase]]
* [[SynthWah]]
* [[Performer 555-A]] (BAD effects chain challenge) (out of production)

==Jim Dunlop==
Jim Dunlop is probably best known for their associations (ownership of) the MXR and Way Huge brands. That said, it was Jim Dunlop who took the wah-wah pedal from the brink of obscurity, purchased the business and rights for the wah-wah from Whirlpool Manufacturing in the mid-1980s, and kept the legacy and the effect going. Dunlop is also known for reissuing the Dallas-Arbiter Fuzz Face as well as the Roger Mayer-developed Jimi Hendrix Octavio effect.

* DC Brick
* Echoplex Preamp (Echoplex EP-3 Solid State preamp sweetener)
* JDF2 Fuzz Face
* Hendrix Wah (out of production)
* Hendrix Wah (out of production)
* Octavio (Roger Mayer cheese block octave fuzz) (out of production)
* Rotovibe
* UV-1 Univibe (the model lacking the "vintage" switch) (out of production)

==Electro-Harmonix==
* [[44 Magnum]] (44 watt solid state preamp - pedal board friendly)
* [[Analogizer]]
* [[B9]] (organ simulator)
* [[Double Muff]]
* [[Holiest Grail]] (out of production)
* [[Hot Tubes]] (with actual 12AX7 tubes) (out of production)
* [[Metal Muff]]
* [[Small Stone]] (out of production)
* [[Stereo Pulsar]]
* [[The Worm]]

==Maxon==
* [[CP-101]]
* [[OD-9]] (original Ibanez TS-9 Tube Screamer w/ true bypass)

==Morpheus==
* [[Droptune]] (needs 1.2 software update)

==MXR==
MXR is a brand that was started in the late 1970s. MXR obtained most of its cache by having been associated with Eddie Van Halen and Van Halen's early artistic output. After MXR went out of business in the 1980s, the rights of the company were purchased by Jim Dunlop who has carried on the promise of MXR pedals as a premium pedal brand.

* M117R - Flanger
* EVH117 - EVH Flanger
* M134 - Stereo Chorus
* CSP001 - Variphase (out of production)
* KFKQZ1 - QZone (out of production)
* EVH90 - EVH Phase 90 (out of production)
* M109 - 6-band EQ
* M108 - 10-band EQ (1 output)
* KFK1 - 10-band EQ (2 outputs)
* M169 - Carbon Copy
* M173 - Classic 108 Fuzz
* SF01 - Slash Octave Fuzz (taken out of production, but returned to production)
* EVH90-35 - EVH-35th Phase 90 (out of production) - personal collection
* EVH117-35 - EVH-35th Flanger (out of production)
* CSP265 - Bonamassa FET Driver (out of production)
* CSP101SL - Script Phase 90

==Peterson==
* [[StroboStomp II]] (out of production)

==ProCo==
* [[Rat II]]
* [[You Dirty Rat]]
* [[Whiteface Rat]] (out of production)

==Retro-Channel==
* [[The Fuzz]] (out of production)

==Skreddy Pedals==
* [[Pig Mine]] (out of production)
* [[Zero]] (out of production)
* [[P19]] (out of production)

==Throbak==
* [[stRange Master]]

==Way Huge==
* [[Swollen Pickle]]

==Zoom==
* [[G2]]

==Miscellaneous==
===Power Adapters===
* Voodoo Lab [[Pedal Power 2+]]
* 2x Boss [[PSA-120]] AC adapters
* 2x Dunlop [[ECB-???]] 18 volt AC adapters

===Pedals to be fixed===
* BD-2 Blues Driver (in pieces awaiting Monte Allums upgrades)
* Rat II - needs to be updated with GGG internals and Monte Allums upgrades
* ISP Decimator - needs factory fix
* Thermionic-Modified Rotovibe (True Bypass + altered LEDs)

===Pedals to (perhaps) be obtained===
* Boss PS-6 Harmonist
* Boss RE-20 Space Echo

* Catalinbread Sabbra Cadabra

* Damage Control Timeline (tube-driven delay)

* Dunlop DVP-1 Volume Pedal

* Electro-Harmonix C9
* Electro-Harmonix EHX-Tortion
* Electro-Harmonix Freeze
* Electro-Harmonix Frequency Analyzer
* Electro-Harmonix Iron Lung
* Electro-Harmonix LPB-1
* Electro-Harmonix Micro-Synth
* Electro-Harmonix Pitchfork
* Electro-Harmonix Ravish Sitar
* Electro-Harmonix Ring Thing
* Electro-Harmonix RTG
* Electro-Harmonix Stereo Memory Man with Hazarai
* Electro-Harmonix Stereo Talking Machine
* Electro-Harmonix V256
* Electro-Harmonix Voice Box

* MXR M-103 Blue Box
* MXR M-75 Super Badass Distortion
* MXR M-135 Smart Gate
* MXR M-195 Noise Clamp
* MXR M-80 Bass D.I.+
* MXR M-181 Blowtorch Bass Distortion
* MXR M-182 El Grande Bass Fuzz
* MXR M-288 Bass Octave Deluxe
* MXR M-81 Bass Preamp
* MXR Iso-Brick power supply

X-15 4-Track Recorder

2017-07-30T04:55:42Z

Zcollier: Created page with "The X-15 was a 4-track cassette recorder that was built by Fostex in the 1980s. Not unlike the pre-amp that was built into the Echoplex EP-3 that gave it such vibrancy, the X..."

The X-15 was a 4-track cassette recorder that was built by Fostex in the 1980s. Not unlike the pre-amp that was built into the Echoplex EP-3 that gave it such vibrancy, the X-15 was reported by Dokken's guitar player George Lynch to be a piece of equipment that, when [[Overdrive|overdriven]], gave his guitar signal a great tone.

We found this comment posted by Michael Wagener (production engineer for Dokken's album "Under Lock and Key") to the user forum at gearslutz.com:

[https://www.gearslutz.com/board/high-end/77436-george-lynch-tone.html Gearslutz.com Forum: "George Lynch tone"]

"Obviously George's tone is coming from the way he plays, out of his hands, but since you asked:

The setup for George's guitar tone on "Under Lock And Key" was as follows:
We had two Marshall heads and two Laney heads, not sure which models, but one of them was a Plexi. We had cabs in three different rooms: two cabs were placed in the big room at Amigo, one connected to a Marshall, the other connected to the Laney. The Marshall was responsible for the high end part of the sound and the Laney was set to take care of the low end. There were 14 (fourteen) mics set up in that room in various psoitions around the cabinet and some further away to get some room tone. The second Laney was sent into a very dead room and had a Boss chorus pedal in front of it, set to very slight chorus. The second Marshall was sent into a small, tiled bathroom, to add a different room tone. Those 16 mics came in on the MCI 500 console mic pres. They were bussed to one bus and that bus had a UREI 530 EQ on it (best guitar EQ ever). George mentioned that he always gets a great tone with his Fostex 4track recorder when it's in total overdrive, so I asked him to bring it in. So after the 530 everything was sent to the Fostex 4track, which lived under a packing blanket under the console, so nobody would see it. The Fostex was on stunn, completely overdriven and was sent on to the 3M 32 track dig machine from there.

No, I am NOT kidding!!!"

This was confirmed by George Lynch's guitar tech Gerry Ganaden on George Lynch's website:
(link no longer available)

"...Fostex X-15 4-track cassette recorder, and with the I/O of it, somehow, it contributed a great tone going into the Randall RG-80 [solid state] amp – and that Fostex machine ended up becoming part of George’s live rig for a little while. Pretty rinky-dink looking rig at that time but ...it kicked ass."

Effects by Function

2017-07-30T03:27:31Z

Zcollier: Created page with "Using this page: Please know that each kind of effect described below is just a brief description. This page itself merely serves as a listing for the various kinds of sound..."

Using this page: Please know that each kind of effect described below is just a brief description. This page itself merely serves as a listing for the various kinds of sound effects that are available. For a deeper understanding of how each effect works, please click on the subject headers themselves. The subject headers are also links to more expansive articles describing the effects.

{| align="right"
| __TOC__
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;Example: The "boost" effect just below has a brief description of what a boost is. To get to a more expansive description of boost, how you would use it, and what equipment options are available for a boost, you'll need to click on the "Boost" description title which is also a link to the larger boost article.

==[[Boost]]==
A boost will increase the volume of a signal within the amount of decibels designated for the signal. Most signals are designated as -10db ("instrument level") and +4 db ("signal level", or post-preamp level).

==[[Chorus]]==
A chorus is an effect that takes a "dry" signal, makes a copy of that dry signal, and then slightly alters the pitch of that signal, and then mixes it back into the original "dry" signal. Depending on the level of mix, the two almost-identical signals can make it sound like more than one instrument is playing. Lower mixes can result in a thicker or fuller sound.

==[[Compressor]]==
A compressor will take a signal and, based on the minimum and maximum volume levels selected for the compressor, will increase the volume when the instrument signal is below the minimum threshold, and will lower the volume when the instrument signal exceeds the maximum threshold.

==[[Delay]]==
A delay will repeat the instrument signal that is put through it. The feedback of the instrument signal can trail off, or depending on the settings, can drift into self-oscillation.

==[[Distortion]]==
Similar to overdrive and fuzz, distortion is the modification of a sound wave such that peaks of the sound wave are "squared off". This creates higher-order harmonics. Differs from overdrive and fuzz by the degree of squaring and frequencies that are "squared off".

==[[Envelope Filter]]==
An envelope filter senses for a certain signal level (usually set by an effect sensitivity control knob) and when that signal level is reached the filter effect is engaged. The filter effect sweeps through the frequency range of the note or notes being played. As the envelope closes (as the signal level decreases) the filtering disengages. Characterized by an "Oww" or "Wah" sound.

==[[Flanger]]==

==[[Fuzz]]==

==[[Harmonizer]]==

==[[Octaver]]==

==[[Overdrive]]==

==[[Phaser]]==

==[[Pitch Shifter]]==

==[[Reverb]]==

==[[Ring Modulator]]==

==[[Synth]]==

==[[Tone Modulation]]==

==[[Tremolo and Volume]]==
Tremolo is characterized by a periodic "on-and-off" or oscillation of volume level. When applied to a musical signal, it can be described as a stuttering sound. Tremolo and Vibrato effects can often be confused with each other. Volume effects usually just refer to the use of a [[potentiometer]] to attenuate signals coming from an electric instrument and going to an effect or an amplifier.

==[[Vibe]]==
The "Vibe" effect was first created as a means of replicating a rotating [[Leslie]] cabinet. While not entirely successful in capturing a Leslie's sound qualities, Vibe is an interesting and significant effect. Vibes operate mostly like [[Chorus]] effects except where a chorus uses a simpler pitch detune, a Vibe instead applies a [[Vibrato]] effect to the wet signal.

==[[Vibrato]]==

==[[Wah-Wah]]==

Oilcan Echo

2017-07-30T03:25:33Z

Zcollier: Created page with "[http://telrayoilcanaddicts.yuku.com/ Tel-Ray Oilcan Addicts] is probably the best-known source of knowledge for these antiques. The Oil Can Echo/Reverb (most notably license..."

[http://telrayoilcanaddicts.yuku.com/ Tel-Ray Oilcan Addicts] is probably the best-known source of knowledge for these antiques.

The Oil Can Echo/Reverb (most notably licensed and sold by Fender) was an alternative to the Magnetic Tape based echo devices of the day. These units are notorious for the oil (which remained unknown for a long time) evaporating out of the can and for the unit to cease being able to work properly as a result. The inability to know what kind of oil was used and therefore not knowing how to source it is another aspect of making these devices less than desirable. In the time the discussion forum has been up, the mystery oil has been found: "UCon LB-65" oil.

How anyone would have been able to create such a device and know the right oil is an amazing feat in and of itself.

Need instructions on how to use these here! These are odd and interesting even if they don't directly support the mission of "Heavy". :)

Standalone Effect Devices

2017-07-30T01:12:35Z

Zcollier: Created page with "Occasionally there are standalone devices that don't seem to fit into any other category. These could be vintage effects that eventually found their way into a pedal, these c..."

Occasionally there are standalone devices that don't seem to fit into any other category. These could be vintage effects that eventually found their way into a pedal, these could be things that have a such physical size and a such unique sound that they have been kept for future use. In many, if not most cases, these effects don't necessarily exist any more because they've been replaced with smaller, more convenient, easier form factors (again, pedals or rack-mount effects), or it could include different methods of making the sound (like changing an analog effect to a digital one).

* Dallas Arbiter Treble Booster
* Original LPB-1
* Original Muff Fuzz
* Tel-Ray [[Oilcan Echo]]/Reverb
* Echoplex EP-3
* Fender G-15 Reverb
* Laney Reverberation Unit
* Garnet Herzog
* Studio Plate Reverb
* Roland RE-201 Space Echo
* Fostex [[X-15 4-Track Recorder]]
* Line6 Pod Effect Bean
* EbTech Hum Eliminator
* EbTech Line Balancer
* Leslie 122 Speaker Rotator

Effects by Manufacturer

2017-07-30T01:08:42Z

Zcollier: Created page with " {| align="right" | __TOC__ |} ==Vintage Effects== We here at Thermionic Studios categorize anything dated 1989 or earlier as "Vintage". We realize that this date is somew..."

{| align="right"
| __TOC__
|}

==Vintage Effects==
We here at Thermionic Studios categorize anything dated 1989 or earlier as "Vintage". We realize that this date is somewhat arbitrary. We recognize that there are electronic devices going back as early as the 1940s and 1950s that in no way resemble effects from the 1980s. Certainly, aficionados would not categorize anything from the 1950s, especially if it included moving mechanical components, along with anything from the 1980's. For the sake of this site, and for the associated practicalities, we will stick with our 1989/1990 date as the break between these two periods.

We deem this date to be significant because it coincides with two events, one economic and the other technological, that give a reasonably good cause for anything dated 1989 and earlier to be categorized as "Vintage":

# This date marks the time when Roland/Boss (at the time, the most influential music effects company) moved its manufacturing operations from Japan to Taiwan.
# Also at this time, and probably more important, there was a shift in manufacturing practices in the electronics industry. The beginning of the 1990s saw the introduction of SMD, or "surface mounted device" componentry. SMD manufacturing techniques accelerated throughout the electronics industry to the point now where most mass-manufactured electronic devices are manufactured using SMD techniques. Today, only a small minority of manufacturers still use printed circuit boards with discrete removable components.

==Modern Effects==
We categorize "Modern" effects as anything dated 1990 and up to the present; and are built using most recent manufacturing methods (printed circuit boards, SMD) that are still currently and effectively used. Occasionally, boutique builders will use older methods, like tag boards and point-to-point wiring, but this has more to do with maintaining authenticity to the original methods as a selling point. It is our expectation that moving forward, that new manufacturing techniques, like 3D-printing will, in time, become the new "line" that separates "Vintage" from "Modern" gear.

Another notable difference in "modern" effects is the advent purely software-based (as opposed to hardware or real logic circuits) nature of digital effects. There are two main applications of these digital effects:

# Realtime use in the instrument signal-line, like the Line 6 Pod "[http://line6.com/pod20/ effect bean]",
# Post-recorded use in Digital Audio Workstations, or DAWs.

In a DAW, everything is recorded in realtime (analog audio) and converted into a digital format. Once the digital file is in memory or on disk, it is a relatively trivial act to apply an effect (delay, reverb, etc...) to the file so as to evoke different emotions and reactions from the sound. Avid ProTools or Adobe Audition are great examples of DAWs.

==Effects Listings==
====[[Effects by Function]]====
Effects listed by the function of the effect on a music signal.

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====[[Effects by Manufacturer]]====
Effects as listed by company of manufacture.

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====[[Thermionic Effects]]====
These are conventional effects owned by Thermionic Studios and available for rental.

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====[[Resurrected Effects]]====
These are effects that, for most intents and purposes, are no longer available. These effects were never terribly successful in their day, but as antique models of these discontinued effects are rediscovered and used by new artists to create new sounds, there is growing demand for them again. These effects are being researched and reconstructed by DIY-and-boutique electronic effects shops. The PCBs for these effects are being sourced by Thermionic Studios. Eventually the effects listed will all be built, tested, and available for rental. As new effects that are actually novel are being discovered and made available, we will also endeavor to make them available.

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====[[Standalone Effect Devices]]====
Occasionally there are standalone devices that don't seem to fit into any other category. These could be vintage effects that eventually found their way into a pedal, these could be things that have a such physical size and a such unique sound that they have been kept for future use. In many, if not most cases, these effects don't necessarily exist any more because they've been replaced with smaller, more convenient, easier form factors (again, pedals or rack-mount effects), or it could include different methods of making the sound (like changing an analog effect to a digital one).

CP-101

2017-07-29T22:05:26Z

Zcollier: 1 revision imported

[http://www.maxonfx.com/reissue-series-effects-pedals/cp101-compressor Maxon CP-101 Compressor]

[[Category:Pedals]]
[[Category:Compressor Pedals]]

Pig Mine

2017-07-29T21:59:19Z

Zcollier: 1 revision imported

[http://www.skreddypedals.com/skreddy_pedals_pig_mine.htm Skreddy Pig Mine]

[[Category:Pedals]]
[[Category:Distortion Pedals]]
[[Category:Fuzz Pedals]]