én is dolgozok most egy leslie szimulátoron, "vicces" LFO-val, persze csak fejben van még ez is, de FET-tel fogom röcögtetni, mert SEHOL sem találtam fotoellenállást, ami olyan 250-1000 kOhm sötét, és pár szár ohm világos ellenállással bír ... Lehet ilyet kapni ? Régebben lehetett, de akkor meg nem kellett.. hagyatékból is maradt rám egy marék TO tokozású LDR, de szokás szerint pár éve eltettem, hogy majd jó lesz ez még ... azóta se láttam
a small stone-nak is van orosz verziója elvileg (hallani nem hallottam sajnos, mert ami a kezemben volt, az pont nem működött).
ha jól emlékszem, úgy néz ki, mint az orosz bigmuff, csak más van ráírva :)
ez elég szubjektív dolog kinek mi tetsziképpen, nemvéletlen váltogatják gitárosok az effektjeiket...., tetszik a smallstone, ezzel csak arra utaltam, h sokak szerint a ruszki cuccok gagyi szarok...., pedig tudtak jó dolgokat is csinálni...
más elven működik az Estradin és a Small Stone az Estradin optocsatolós,a Small Stone pedig OTA-s,ezenkívűl lehet még FET -es (MXR Phase 45),induktív (Hammond orgonák csöves phasere) sőt CMOS IC-s is,ezeknek teljesen más a hangja de mégis mindegyik a fázistolás elvén működik és másra használható.
került hozzám egy ruszki csoda-kórus nemrégiben.
hát..
eddig ez hasonlít legjobban a vintage mxr stereo chorus-ra.
mondjuk a memóriám elég szar, de akkor is
no offense but ezt így kijelenteni kicsit meggondolatlanság szerintem. lehet, h a te ízlésednek jobban tetszik,
de ettől még a small stone szerepel az oldschool psychedelic zenekarok lemezein (is) - egyszerűen ez a sound van az emberek fülében.
tutira létezik ennél (és az orosz csoda-phaserednél is) 1000x faszább phase shifter, de a small stone, az small stone
400 usd körül felfel szokott bukkani USA ban.
110 eFt mire ideér...
Egy ideje én is nézegetem, de még nem szántam rá magam,hogy annyit kiadjak érte,
mondjuk az EX-7 es re azt mondják egészen reális alternatíva.
Boltban próbáltam, nem volt rossz.
próbálgattam ma a smallstone usa v2-est elég jó phaser, de a ruszki estradin 10x jobb....
2010-01-25 17:00 |
#55970
sok gagyit csinál a behringer, de normális cucc is van pár, pl nekem volt a régi jensen hangszórós gm110 kombó tech21 copy az elég szépen szólt és használtan olcsó is volt......:)
>-----Original Message-----
>From: Roger Mayer [mailto:Roger@roger-mayer.demon.co.uk]
>Sent: Friday, January 19, 2007 4:09 AM
>To: Jasen Emmons
>Subject: Roger Mayer Octavio/Octavia Pedal Exhibit
>
>Dear Jasen,
>
>This letter is in regards to an exhibit that you have at the EMP museum:
>the Octavio / Octavia Guitar Pedal built and designed by me. By the way
>I never wrote on any boxes myself hence the confusion between Octavio
>and Octavia.
>It has come to my notice that Dunlop manufacturing is now releasing a
>clone of the Octavio pedal in your collection and making false claims as
>to provenance and use on the "Purple Haze" and "Fire" recordings. Please
>follow this link:
>http://namm.harmony-central.com/WNAMM07/Content/Dunlop/PR/Hendrix-Octavi
>o
>.html
>
>I would like to take this opportunity to set history straight.
>1.The Octavia / Octavio sound was first heard on record in the solo of
>"Purple Haze" and this solo was recorded on Feb 3rd 1967. I first met
>Jimi on Jan 11th 1967.
>2. The actual Octavia used did not have the same circuit, type of
>transformer or enclosure as your wedge shaped example, which was
>manufactured at least 20 months later. It did however use elements of an
>electronic configuration that could be considered pivotal. This first
>unit can be considered as Octavia Evo1.
>3. This Evo1 unit used germanium transistors and a ferrite transformer
>and also had limited drive capabilities. It was used in the recording of
>Purple Haze and Fire with another custom driver in a separate enclosure
>that also used germanium transistors. This driver was placed in front of
>Evo1 to give enough drive to satisfy Jimi.
>4. After the recordings Evo 1 was never used again in it's original form
>and consigned to the trash bin.
>5. It became obvious that both the driver section and the Octavia
>section should be combined into one box.
>6. The path of development and understanding through experimentation was
>continuous and fast like in motor racing and in the space of less than a
>year at least 15 variations and evolutions had been produced.
>7. These units were used by Jimi and not housed in a wedge shaped box.
>Some only had a life of a week or so as we both learned and experimented
>and moved on. It can be thought of as racecar development throughout a
>season. Maybe the same chassis configuration but lots of component
>changes.
>8. Later that year we began recording "Axis Bold as Love" which used
>the latest evo of Octavia on several tracks and if you listen carefully
>the clarity and detail of the Octavia effect was much more defined. Of
>course at the same time I was updating, building and customising the
>distortion units to compliment the latest evo of Octavia.
>9. At the end of 1967 I designed the wedge shaped enclosure that was
>manufactured by my father's electronic company and only 5 or so examples
>were made.
>10. The latest evo of the Octavia were housed in these new enclosures
>and still used germanium transistors and ferrite transformers. They
>however had a DPDT foot switch which the previous versions did not have
>which were primarily designed for studio work and not suited for
>touring.
>11. These first boxed used different knobs than the example you have and
>did not have a moulded in shoulder to cover the mounting nut. They were
>a tapered conical shape and made in silver plastic.
>12. I went on tour to the USA with Jimi from Jan 30th 1968 until April
>19th 1968 where the Octavia was used on a few special gigs. We did not
>use it everyday owing to fact they custom made and could not be replaced
>as I was on tour as well. Having gear stolen from the stage was a real
>problem every night. We never lost an Octavia though. Jimi and I kept
>the Octavias save with us at all times.
>13. After the winter 68 tour in the USA I returned to work at Olympic
>Studios having left the Admiralty Research Laboratories to start a new
>career designing and manufacturing recording studio consoles and
>associated outboard equipment. I of course still kept in close contact
>with Jimi and the Octavia development continued on. I was also meeting
>lots of other famous musicians and bands that came to the studio and
>also expressed a desire to have an Octavia example.
>14. It became obvious that a more rugged type of Octavia using silicon
>transistors and iron type audio transformer would be needed for rugged
>stage use. The use of low noise silicon transistors was an improvement
>in temperature stability over the germanium type. The iron laminations
>of the audio transformer did not have the detail of ferrite but overall
>was more rugged and not subject to breakage from dropping. Ferrite cores
>can be damaged more easily than iron laminations.
>15. At the end of 1968 I decided to build a limited run of 5 or so
>Octavias and 5 Distortion Pedals all housed in the wedge enclosure.
>16. The Octavia configuration used for the driver comprised of
>complimentary NPN PNP low noise silicon transistors driving a
>commercially obtained iron audio driver transformer. The biasing for
>these units were also varied to operate from 24V for studio work to an
>optimised version using an internal 9 Volt battery. This series of
>pedals used the type of knobs you have on your exhibit at EMP.
>17. These units were completed in early 1969 and went to guitar players
>like. Syd Barrett - Pink Floyd, Steve Marriot - Small Faces Peter
>Frampton - Small Faces. Jimi of course had some too.
>18. In May 1969 I went to live in New York City with my new married
>American wife and started Roger Mayer Electronics building and designing
>studio equipment. I also had taken a few of the remaining 10 pedals with
>me to New York. I of course was still in contact with Jimi and the
>development of the Octavia continued. The aim now was to get rid of the
>transformer altogether and Jimi and I got together at the Record Plant
>and Hit Factory to play with the latest evos.
>19. After Christmas 1969 I get a call from Jimi saying he needs an
>Octavia for his upcoming gig News Years eve at the Fillmore East as all
>his ones were gone missing. Luckily I had an Octavia and distortion left
>from the 10 I had made earlier that year and took these to rehearsal for
>the Band of Gypsys concert. The results can be heard on Machine Gun etc.
>20. 1970 saw Jimi real busy but I still caught up with him in the studio
>and showed him the latest version of the Octavia.
>21. In October whist working with Stevie Wonder at Media Studios I hear
>of Jimi's death. The session was called and everybody was very sad.
>22. The Rocket version of the Octavia is the latest version connected
>with Jimi and does not use a transformer but represents the last of the
>development directly inspired by Jimi.
>23. This is the reason I have never myself made a replica wedge box or
>indeed ever claimed that the Rocket Box was used was on "Purple Haze"
>or "Fire". The wedge box you have was never used on these records and
>was made at least 20 months after the fact. You indeed do have a piece
>of music history that may have been owned and used by Jimi but not on
>those tracks or "Axis Bold as Love".
>24. I could of course have lied years ago and made false claims about
>making the exact same box that was used on Purple Haze but I have not
>nor do I. I am totally against anybody else getting away with such lies.
>25. The spirit of the Octavia sound lives on and the latest version the
>Vision Octavia is an evolution Jimi would have loved.
>26. I would really appreciate your help in setting the facts straight as
>history should be correct and I don't feel that anyone at EMP can afford
>to be associated with helping pervert the truth. I contacted you as soon
>as I knew of this cynical attempt to commercialise your exhibit. Now you
>have the facts I feel confident you will take necessary, swift and
>appropriate action with the parties involved to set Jimi's history back
>on the correct path. My fortunate involvement with Jimi and being part
>of music history is payment enough and I know Paul Allen has a deep love
>of music too and an interest in keeping the spirit of music alive.
>27. Jacob McMurray your associate suggested that I take a look at your
>text surrounding this exhibit and offer my comments as to make it's
>place in history correct and I of course will be delighted to help EMP
>in any way I can.
>
de akkor már dallas arbiter volt, nem? és ők csinálták a fuzz face-t már akkor. pl gilmournak a fő fuzz pedálja volt 68-75 közt. és az dallas arbiter fuzz face taposó akna.
Szegény Hendrix nem használhatott Dunlop szilikontranyós FuzzFace-t, mivel a cég akkor még nem is gyártott semmilyen effektet...Az MXR is önálló gyártó volt a 70-es évek végéig, (original Script logó!) majd a Dunlop felvásárolta őket is. A Dunlop wahpedálokkal ugyanez a helyzet. Hendrix olasz (pescarai) Vox-ot használt mindvégig. (most meg árulják a Dunlop Hendrix signature wahpedálokat...Röhej!)
nincs valakinek EHX Pulsar kapcsolási rajza? esküszöm, itt kutatok a neten, de nem találok. Igazából csak az LFO-jár vagyok kíváncsi, meg arra, hogy a Tippem, hogy OTA-val modulál, az igaz-e ?
Hendrix nem volt cigány.
nagy a szórás a régi ge tranyók között, nem fogsz tudni ugyanolyat építeni, inkább a hangzásban próbálj megközelytőt találni, cserélgesd sokat a tranyókat, beállítások.....
viszont a dunlop kézzel készített fuzzface türkisz színű pedálja szilikon tranyós
na most akkor mi az igazság, milyet használt ez a cigány?
vagy b verzió: mikor milyet használt....
nekem is van tömörszén ellenállásom jó pár értékben , különféle gyártmányok, de én nem vagyok elájulva tőlük, szerintem "fátyolos hangjuk" van ..... kinek mi tetszik Amúgy, ha valamit elkezdenek újra gyártani, ami gyk. hiánycikk, azt bármennyiért el lehet adni, főleg annyiért, amennyiért megveszik ... Lásd azt a hotplotz vagy milyen potit, ami egy az egyben AB, csak mást préseltek a házára ...
Meg , ha valamit lehet kapni, azt mindig lehet kapni máshol olcsóbban, csak meg kell keresni a forrást ...
fémréteg ellenállást is lehet kapni 1000 HUF / db áron ..
Szénellenállást gyártanak most is. A héten rendeltem az Etronic-tól egy wahpedálhoz. (az sem véletlen, hogy hogy az összes régi csöves fejben ilyeneket használtak--JTM-45, Laney Sound, Fender és társai)
(az album címe pedig.. : washing machine 
- mert komolyan az)
) biza a kisszekrénybűl jön 
