The fuzz octave effect was created by Roger Mayer for Jimi Hendrix in 1967, as heard on the tracks “Purple Haze” and “Fire”. The Roger Mayer-made Octavia was never mass-produced. In the early 1970s, Mayer's design was stolen by Tycobrahe, who received one for repair and reverse-engineered it. Tycobrahe released their own version without paying Mayer for the design and mass-produced it.

The design for the Tycobrahe and early Octavia used a transformer to create the octave effect. Roger Mayer stated, though, that he didn’t prefer the transformer design. Mayer preferred an all-transistor design, which he started building in the early 70s.

In 1971, Steve Ridinger designed the Foxx Tone Machine, which was the first mass-produced all-transistor octave fuzz. The octave effect was more prominent on the Foxx Tone Machine. You can hear the Foxx Tone Machine on Adrien Belew’s song “Big Electric Cat”.

Many modern octave fuzz builders use all-transistor designs due to their increased reliability, lower cost, power efficiency, ease of tuning the pedals’ octave effect, and smaller size and weight.

There is a certain charm that exists in vintage catalog-style guitars that Sears and Montgomery Ward companies distributed. These guitars were branded with the Silvertone and Harmony names. Though these guitars were marketed and intended for beginning guitarists, pro guitarists have come to love the tone these unique instruments provide.

Sears (which was a department store catalogue) owned the name Silvertone but had companies manufacture guitars with the Silvertone name on them. Dan Electro made the most desirable guitars that bore the Silvertone Brand.

Silvertone guitars had tops and backs that were made from Masonite, which is also called pressed fiberboard. The internal frame was made using pine or poplar wood. This led to the guitar being light due to its materials, but also because the body was hollow.

Even within the discussion so far, you can already get the drift that these guitars have a unique sound quality, and we didn't even discuss the hardware or pickups yet.

Interestingly enough, not many builders have elaborated on these catalogue guitar designs over the years. There was Jerry Jones, who made an updated version of Silvertone and Dan Electro guitars, but kept the same look. But why no exploration into other ways to incorporate some of these catalogue guitars’ ingredients into other designs?

This is where Working Class Guitars comes in. Chris Anderson, who is an accomplished touring musician, started to make updated catalogue-inspired guitars. Chris and his wife, music collaborator Rebecca Haviland, have a collection of catalogue guitars. Rebecca favors their sound for their band Whiskey Heart.

 Entering college as a music major is a bold step, filled with excitement, potential, and pivotal choices. As a full-time lecturer on music theory, composition, and music technology at SUNY Purchase, I’ve seen firsthand what separates thriving college musicians from those who stumble early on. My mission is to guide students past common pitfalls and toward a transformative college experience, one where their passion for music is both cultivated and channeled toward long-term success.

One of the most interesting delay units ever created was the Binson Echorec. The Echorec was invented in the mid-1950s by Dr. Bonfiglio and Scarano Gaetano in Milan, Italy. They set out to create a delay that was more reliable than tape.

The Echorec uses a magnetic drum recorder that didn’t use tape rather a rotating steel-alloy disk (drum) coated with magnetic material. Multiple playback heads were positioned around the drum’s circumference, which allowed for multiple delay times and rhythmic patterns.

The delay times were fixed, and the Echorec had a vacuum tube preamp that is something quite special. In fact, to this day, people underestimate the importance of the preamp in the sound of the Echorec.

For many years, the Binson Echorec was largely forgotten, which is surprising given its unique tone device. Hank Marvin used the Echorec in The Shadows, a British surf band. David Gilmore also used the Echorec prominently throughout his career, as well as on the early Pink Floyd records.

The Binson Echorec was a high-quality device. They were made to last, and their goal of manufacturing a delay unit more stable than tape was achieved.

I have a long history of trying different tremolo pedals and never being fully satisfied. I don’t use tremolo just to modulate volume with an LFO. I pay attention to the waveshape of the LFO and the circuit used to generate the tremolo, as each has its own sonic implications. 

Whether you use a Bias Trem, Opto Trem, or Harmonic Trem makes a difference in the expression of the music, and the circuitry, whether it’s tube or not, leaves an impression on the tone.

Because I’m picky, it has led me to fewer options when choosing a tremolo for a gig or session. I usually like to have a few options at my disposal for a few reasons.

·      Pedalboard real estate: When I’m doing a gig or tour, I need to consider the other effects I'll be using, which may limit the space I have for a tremolo.

·      Power requirements: Sometimes it is feasible for me to use a pedal that has special power needs, and other times it’s not. There are situations where I need to use a pedal that has a 9V center positive for simplicity’s sake.

·      Tone: Some pedals add a unique character to your sound, such as the Effectrode Delta Trem, which I also use alongside the Strymon Volante to imitate the tone of the Binson Echoed preamp. 

15 Practical Ways to Reduce Electric Guitar Noise

Here’s my expanded, real-world list of noise-fighting strategies. Some are quick fixes, some require a little elbow grease, and some might surprise you. Combine a few, and you’ll notice a real difference.

1. Move Around to Find the “Null Point”

Ever see a guitarist slowly spinning in a circle, guitar in hand, looking like they’re searching for a lost pick? They’re actually finding the spot with the least noise. Electromagnetic and acoustic fields interact with your pickups, creating zones of higher and lower noise. Sometimes, the quietest spot is in the weirdest place—like facing into a corner or standing next to a window. It won’t eliminate noise, but it can reduce it dramatically.

Pro tip: Try this with your amp volume up and your guitar plugged in but not playing. Move slowly and listen for the spot where the hum drops off.

2. Shield Your Guitar Cavities

A little DIY goes a long way. Shielding the inside of your guitar with copper or aluminum tape can block a lot of unwanted interference. I’ve even shielded the back of my Telecaster’s pickguard. It’s not glamorous, but it works. Kits are available online, and there are plenty of tutorials if you’re comfortable opening up your guitar.

Over the years, I have tried several controllers for mixing and have often been left dissatisfied. There was always a snag somewhere, either with features or compatibility. Many times, controllers from Mackie and Avid cost me time, but then they saved me time. The SSL UF8 is the first controller that, once I got it set up, works as expected and can be transparent. Imagine that—a product working as described. It shouldn’t be a surprise, but I have to say it hasn't been the norm with MIDI controllers or control surfaces.

SSL did it right. Switching between DAWs is easy and does not induce any weirdness. Taking it to other studios is also hassle-free. I take mine to a remote studio I work out of, as well as to SUNY Purchase, where I teach audio recording and composition.

When you discover the right controller, it can truly connect the analog feel with digital mixing. One element that isn’t talked about enough in the analog realm is the workflow. Yes, it takes time to patch effects and set up a session on an analog deck, but once it’s set up, it’s quite fast to mix. I mix much faster when I’m sitting at a console.

If you’ve read my blogs before, you will undoubtedly have seen my adoration for Effectrode pedals. There is a sea of pedals out there these days. Some are awful, many are mediocre, some are good, and few are spectacular. If you’re not doing a lot of research before you buy, you may spend a lot of money trying pedals and sending them back or selling them. Which is the way I learned before the internet was all the rage.

The term counterpoint scares many people who think it is a carefully devised process that strips you of creative freedom. This is partly true because some individuals have pushed the practice of counterpoint as strict rules at some point without explaining the purpose of counterpoint.

I disagree with the view that music theory is a rule. Counterpoint, like serialism or any other principle of harmony, is simply a recipe for an expected result. 

These music theory recipes are not baking recipes where exact measurements must be made.

 Music theory is more like cooking, which is more malleable and open to in-the-moment modifications. 

As a composer, working in notation software with uninspiring sounds—especially for electric guitar—has always been frustrating. These days, I primarily compose in Dorico Pro, which allows me to experiment with ideas and refine decisions before stepping into a studio or rehearsal space. It’s a process I value and one I teach to my college students.

One point of contention that still exists despite many of the changes in the recording industry is proper monitoring. We now have access to recording interfaces such as the Universal Audio Apollo, which yields high-end studio results. In theory, you can have a pro studio for a fraction of what it used to cost to acquire.

Even with these advancements, audio engineers continue grappling with a complex aspect of the mixing process: monitoring. It's common to have top-notch equipment and struggle with a mix. This begs the question: How can this be?

I recently tested out a variety of guitar picks from a company called Chicken Picks. I had heard the name before but had yet to use any. I do have a variety of picks I keep around in case I need to swap a pick during recording to solve some tone issues. Picks act as an essential tone point when recording guitar or developing a sound. 

Changing a pick is not the first place I start when adjusting tone as guitarists get comfortable with their picks. But if there is an overtone I can't get rid of or I have exhausted my other options, I reach for guitar picks. I have picks from different materials, weights, shapes, and sizes. It's surprising the difference a pick can make. 

It's intriguing to consider that three decades ago, we had a limited number of options when it came to guitar pedals. Nowadays, the tables have turned, and at times, it feels as if we have too many options. Options are a good thing, but there comes a point where there are so many options that many of the most incredible options get hidden from the masses, much like what is happening in the music business right now. The most interesting music is not what's accessible through the mainstream.

No style of pedal fits into this category more than overdrive pedals, which outnumber all other pedals by far. Everyone makes an overdrive pedal. If my grandma were alive, she would make one, too.

As a dedicated studio rat, I've spent countless hours composing and recording various music genres. Yet, one persistent challenge has been the limited microphone options that genuinely capture the natural sound when directed towards the center of the cone nearby.

My dissatisfaction extends to miking guitar amps on gigs. While some choices, like the long-standing favorite Shure SM57, have their merits, they always produce a harsh sound that I find myself battling within the mix.

The Shure SM57 has maintained its popularity for decades, and good reason. Its affordability, ease of replacement, and ability to handle high sound pressure levels, such as those produced by high-wattage guitar amps, make it a practical choice. For instance, a Marshall non-master volume 100watt amp at full blast is too loud for a ribbon mic placed close to the speaker, but the Shure SM57 can withstand this level of intensity.

But the SM57 can sound harsh and brittle. I fight with its sound every time I use it, as it doesn't sound like how I hear the amp in the room. I always wish I could find a mic that wouldn't make me rush to an EQ in a state of emergency.

Incorporating an EQ into your setup is not just a suggestion; it's necessary for a seamless recording experience.

We use an EQ in several ways, including troubleshooting problem frequencies, tone shaping, filtering, and special effects.

The EQ is at the heart of your mixing and sound sculpting process, followed by a compressor and time-based effects. While other tools may be enticing, the first steps almost always involve EQ and compression.

I've dedicated considerable time delving into the intricacies of classic fuzz tones. To my discerning ears, one fuzz pedal doesn't cover all the sonic ground I seek. I'm meticulous about embracing the diverse characteristics inherent in each era and circuit of fuzz, strategically pairing them with the specific session or gig at hand.

What has captivated my attention is the void in the reproduction of early-era fuzz pedal circuits. In particular, the resonant allure of the original Maestro FZ-1 has enchanted me. My 90s Gibson reissue, crafted during a limited run, has become a rarity to procure.

Unbeknownst to me, amidst this quest, another early fuzz circuit has quietly continued production—the Rush Pepbox, conceived by the circuit designer Pep Rush's daughter, Lucy Rush.

A familial collaboration, Lucy worked alongside her father until his passing, making the Pepbox a testament to generational craftsmanship. In an industry where legacy businesses are a scarcity, this connection to the roots is noteworthy.

When I think of the passage of time, there are tools that I'm surprised haven't evolved sooner. One of those musical tools is the metronome. For many decades, the concept of what a metronome could be seemed cemented.

I'm not trying to imply that the metronome did not evolve. Metronomes with odd time signatures and programmable set lists appeared. Even though those small evolutions happened, one noticeable change hadn't occurred: Feeling a metronome instead of hearing it.

Peterson (the company known for strobe tuners) developed a vibrating accessory to a metronome that would attach to your pants. But it didn't take off for whatever reason and is now discontinued. Players didn't like attaching the vibrating accessory to their belt or felt it was limited to a physical connection to a metronome.

Engaging in music research has become an integral aspect of my musical journey, as I continuously explore avenues to enhance my composition, theory, learning, technique, and performance knowledge. Several years ago, I initiated the practice of consolidating my research within the confines of an iPad app called Goodnotes. The app's unique feature of creating "notebooks" appealed to me initially.

However, my allegiance to Goodnotes waned over the past year due to an update that complicated backup access and an inability to address sign-in issues with the app's developers. This created a dilemma as it hindered my ability to seamlessly access my accumulated data on various devices, instigating a sense of vulnerability concerning the safety of my over 1,500 pages of painstakingly compiled research.

Realizing the potential pitfalls of relying solely on a digital platform, especially one with uncertain customer support, I made a conscious decision to transition back to traditional pen and paper. The prospect of safeguarding my research from potential app discontinuation or developer unavailability became a paramount concern.

Welcome to this week's dive into the world of pedal chemistry, where we're spotlighting the fascinating Red Panda Tensor pedal. This innovative reverse tape effects pedal is not just a tool; it's an instrument that invites experimentation and yields unexpected sonic delights. In this comprehensive review, we'll explore its features, delve into its capabilities, and share creative insights on how this pedal can transform your musical experience.

In this week's podcast, we're diving into the world of vertical pedal boards and exploring the unique craftsmanship of the Red Panda Tensor pedal. While browsing Etsy for pedal boards a few weeks back, I stumbled upon a fascinating niche – vertical pedal board stands designed for desktop use.

What caught my eye were these single pedal board holders crafted through 3D printing. However, I preferred handcrafted wooden options, as 3D-printed products feel impersonal and cheap. Enter Douglas Pedal Boards – a discovery that sparked my interest.

Douglas Pedal Boards, a small business in Canada, stood out with its beautifully hand-built creations. The boards exuded a unique quality, far from the mass-produced feel of assembly line products. I reached out to Douglas, delving deeper into his craft, and was fortunate to get my hands on one for my studio – an experience I must say left me truly delighted.