Bobba a écrit :
stratus a écrit :
Shaggy_2_dope a écrit :
ouais je dirais que
dans les 80's cet effet n'était pas du tout à la mode... et avant dans les 60's-70's c'était intégré aux amplis assez souvent.
Il était même devenu ringard, symbolisant le slow "yéyé"
Pourtant Pink Floyd en faisait une utilisation tres moderne (voir avant gardiste :lol
dès 1970 sur One Of These Days
Aujourd'huis je dirais que l'effet le plus has been est probablement la "talk box". Citation:
The first commercially available effects, tremolo and vibrato, appeared in the late 1940s. The confusion regarding the difference between tremolo (which modulates volume) and vibrato (which modulates pitch) persists to this day, as evidenced by the use of both terms to refer to a guitar's whammy bar.
The engineering behind many of these early effects was quite imaginative. For example, DeArmond's tremolo used a motor-driven wheel to rock a small tube of mercury that opened and closed a circuit, thus modulating the volume. Leo Fender's tremolo circuit, which he called "vibrato," used a low-frequency oscillator to pulse a light source directed at a photoresistor. Fender also produced a combination vibrato and reverb unit called the Dimension IV, which used the questionable technology of an electric motor rotating an oil-filled can in front of a light source.
Stand-alone echo and reverb units were next on the scene. Les Paul created echo effects using modified tape recorders in the '40s, but dedicated tape echoes-with names such as Eccofonic, Echolette, Echoplex, and Copicat-didn't appear until the '50s. The Binson Echorec had one of the more exotic designs, using a magnetic disk rather than magnetic tape. However, it was engineer Ray Butts who developed one of the first commercially available tape-echo units, for use in his EchoSonic amplifiers-a combination that helped define the early guitar sounds of Chet Atkins, Scotty Moore, Roy Orbison, Carl Perkins, and Luther Perkins.
Mechanical reverb units were the result of attempts to emulate the sound of echo chambers. Rather than using a room for reverberation, manufacturers attached transducers to large metal plates or tightly coiled springs. The Hammond Organ Company developed one of the first spring reverbs and licensed it to Fender, who issued the GA-15 Reverb unit in 1961.
