|1951 Fender Esquire|
|1951 Fender Telecaster|
|1954 Fender Stratocaster|
Moving forward to 1954, Fender introduced the Stratocaster. The introduction of this guitar coincided with the year Elvis Presley became popular, which caused an increased interest in the guitar.
By 1956 Leo Fender thought it might be a good idea to introduce a student model to the Fender line up, which would have a shorter scale for small hands and also had a reduced price point.
|1956 Fender Musicmaster and Duo-Sonic Guitars|
|1956 Fender Musicmaster|
The Musicmaster featured just one single-coil slanted pickup in the neck position.
The Duo-Sonic added an additional pickup, without a slant, in the bridge position and a 3-way selector switch on the lower horn. The middle position on the Duo-Sonic placed the single coil pickups in series, thus acting like a humbucking pickup.
|Bridge for 1956 Duo-Sonic|
Both guitars had adjustable bridges which had 3 sections, much like the older Telecaster bridges, with each section doing duty for two strings. This bridge was fastened directly to the body and it came with a bridge cover, which generally was taken off the guitar.
The initial models of each instrument came with an anodized aluminum pickguard done in a gold colour. This provided shielding. The serial number was stamped on the chrome neck plate.
The original run of these guitars came in only one color that Fender called Desert Sand. The suggested retail price at the time for the Duo-Sonic was $149.50.
This model went unchanged until later in 1959 when a rosewood slab fret board was added to the maple neck. Within a year Fender changed this to the veneer style rosewood fret board. The anodized aluminum pickguard was changed to a plastic one with shielding under the potentiometers.
1959 was also the year that the Musicmaster and Duo-Sonic came in Sunburst which replaced Desert Sand.
In 1963 the sunburst finish was discontinued and the guitars were available in white with brown plastic pick guards.
|1966 Fender Duo-Sonic II|
Big changes occurred in late 1964 when the Duo-Sonic and Musicmaster were redesigned. That year the guitars were renamed the Duo-Sonic II and the Musicmaster II.
|1964 Fender Duo-Sonic II|
|1965 Fender Duo-sonic II|
|1964 Musicmaster II|
Similar treatment was done to the Musicmaster, but it had no slider switches.
The bridge/saddle on both guitars were redesigned to have a raised lip on the end to attach the strings. The neck was still available with the 22 1/2” scale, but the guitars were also offered the same 24” scale neck found on the Mustang.
|1964 Musicmaster II and Duo-Sonic II|
Both guitars were available in Dakota red, white, or Daphne blue finishes.
The Duo-Sonic II lasted until 1969, when Fender determined that the popularity of Mustang sales did not warrant maintaining the “hard-tailed” Duo-Sonic.
However the single pickup Musicmaster was still kept in the line up. However the designation Musicmaster II was dropped in favor of just Musicmaster. The Musicmaster was offered by Fender through 1982.
In 1993 Fender decided to reissue the Duo-Sonic. This time it was made in Mexico. The scale was still short, however this time it was 22.7” instead the of 22.5’ length. The neck was now back to maple with a maple fretboard. The twin slider switches were replaced with the 3-way toggle selector on the guitars upper horn. The bridge still had the raised lip. These models were available in black, Torino red and Arctic white. These guitar remained in the line up through 1997. The pickguard was made of one piece of plastic, with no chrome control panel.
|1998 Squier Affinity Duo-Sonic|
|2008 Squier Classic Vibe Duo Sonic|
There were a few changes. The body was made of basswood and the neck was a 24” scale with a C-shape. The frets were updated to medium jumbo ones and the bridge pickup was moved 3/4’s of an inch further from the bridge compared to the original. This model was discontinued in 2011.
|2016 Fender Duo-Sonics|
In 2016 Fender offered two updated versions of the Duo-Sonic under the Fender brand name. Both guitars came with 24” scale necks.
The Duo-Sonic MN featured 2 single coil pickups with a slanted neck pickup and a bridge pickup that was parallel to the bridge/saddle. This guitar appears to be fairly close to the original model, but for the scale and the six-section adjustable bridge with the strings going through the body and anchored in the back of the guitar.
The other model was the Duo-Sonic HS, which featured a single coil slanted pickup in the neck position and a humbucking pickup in the bridge position that featured coil tapping. The bodies are made of alder wood, while the necks are maple and offered with either a maple or rosewood fretboard. Both instruments are manufactured in Mexico and remain in the Fender line up at present.
A close cousin to the Musicmaster and Duo-Sonic was the Fender Bronco. This was another student guitar that was initially sold as a student package along with the Fender Bronco amp, which was actually a very nice Fender silverface Vibro-Champ amplifier. The only difference in the amplifiers was the colour of the logo. This amplifier came with red lettering that stated Bronco, instead of blue lettering stating Vibro-Champ.
|1967 Fender Bronco|
The fretboard was of the Fender laminated rosewood variety with dot position markers. Like the Musicmaster, the Fender Bronco has only one pickup, but it was placed In the bridge position. This was a slanted single coil pickup with no exposed pole pieces.
|1967 Fender Bronco amplifier|
The Bronco stayed in the Fender line up until 1981. It was then replaced by the Fender Bullet 1.
|1981 Fender Bullet 1|
This first version of the Bullet included an anodized pickguard with controls for tone and volume.. The distal end of the metal pickguard had a lip that held the six adjustable bridge saddles.
The guitars body had a shape more like a Telecaster than a Mustang. The twin single coil pickups were done in the same manner as the original Duo-Sonic; the neck pickup slanted downward and the bridge pickup was parallel to the bridge saddles. The bolt-on maple neck was topped with a laminated rosewood fretboard and a Telecaster style headstock. The 3 position blade switch was very similar to the one used on early Stratocasters.
|'81 Bullet Deluxe|
Later models, known as the Fender Bullet Deluxe, were produced with a plastic pickguard and a metal plate that housed the bridge/saddle unit. By 1982 the Bullet was redesigned and this version bore no similarity to the Duo-Sonic.
One other very interesting Fender student guitar worth mentioning;The Fender Swinger.
|Swinger body routed for Bass V pickups|
The new bosses gave him instructions to find something profitable to do with leftover parts. Simoni was not a designer, but he was skilled in shaping bodies, necks and routing.
He came up with two very unique guitars and one of them was the Fender Swinger, which was fashioned from leftover Musicmaster, short-scale necks, and Fender Bass V bodies.
These guitars utilized left over 1969 pick guards that had been cut out to allow space for the metal control panel. This guitar came with a single slanted neck pickup. The 3 section bridge/saddles were the same ones used on Musicmasters and Duo-Sonics that were made during the 1964-1969 era.
|1969 Fender Swinger|
|Logos on the Headstock|
The tuning keys had white plastic buttons and the Fender logo decal (in black font) was put on the headstock. On some models to the right of this was “Swinger” in a similar black script. Most models deleted the guitars name.
|Back of the Swinger body|
Though the Swinger was an inexpensive 3/4 sized guitar at the time it was offered to the public, its scarcity has made this guitar very collectible and commanding thousands in today’s vintage market.
Another variant of the Duo-Sonic and Musicmaster guitar was the Fender Musicmaster bass guitar.
|1966 Fender Mustang Bass|
This bass came with a plastic pickguard and a metal control section similar to the one on the Mustang guitar. The bridge/saddle section consisted of a chrome plate with a raised lip at its end and 4 adjustable saddles.
|1971 Musicmaster Bass|
The controls and pickup were mounted on the plastic pickguard, which was much smaller than the one on the Mustang bass. The bridge/saddle was different from the Mustang bass.
The strings attached to the lip of a chrome plate and passed over two adjustable sections, much like the saddles found on a Telecaster.
|1972 Musicmaster Bass|
This bass had one single coil pickup with a cover that did not expose the pole pieces. If you removed it, then you would find six pole pieces, as it was actually a Stratocaster pickup. This led to a common criticism that the Musicmaster bass sounded thinner than other bass guitars.
|1971 Fender Musicmaster Bass|
Most Musicmaster bass guitars came with a white or black pickguard, while some had a pearl design. The 30” scale maple neck was capped with a rosewood fretboard. The headstock was smaller than the Mustang bass. The tuning keys were triangular.
Original models came in black, red, or white. Later models were available in other Fender finish options.
The Fender Musicmaster bass was in the line up until 1981. It was reintroduced as the Squier Musicmaster bass in 1997.
|1997 Squier Musicmaster Bass|
The control knobs on the Fender Musicmaster bass were made of plastic, while the Squier version had metallic knobs.
|Squier Bronco Bass|
The Squier Musicmaster bass was produced for less than a year, when Fender introduced the Squier Bronco bass. This was a simlar bass, but utilized a covered pickup that had 4 pole pieces. The bridge/saddle reverted back to the two section type.
|2002 Fender Mustang Bass MIJ|
The Fender or Squier Musicmaster bass never resurfaced. The Fender Mustang bass was reissued in 2002. It remains in the Fender line up.
Unfortunately, the vintage Fender Musicmaster bass, though no longer available, is one of the least collectible Fender instruments.
The links under the pictures will take you to their source. The links in the text will take you to more interesting information.
©UniqueGuitar Publications (text only)
SANTA BARBARA, CA March 1, 2017 – Seymour Duncan, a leading manufacturer of pickups and pedals, announces the over-the-counter release of Periphery guitarist Mark Holcomb’s Alpha and Omega pickups in 6, 7 and 8-string versions.
“The Alpha/Omega set has been the heartbeat of my sound for the past several years,” Mark Holcomb says. “Since we developed and released the first 6-string set in the custom shop, I’ve had the same pickup set in every one of my 6, 7 and 8-string guitars, live and in the studio. It has remained one of the few components of my rig and setup that I haven’t even thought about tweaking.”
“The Omega bridge pickup came out super cool,” Holcomb continues. “It’s very, very aggressive and snarling, with that percussive quality that I like in the low mids. My style is based on really big chords with a lot of voicings, and I didn’t want to sacrifice any of that in the bridge pickup. And the Alpha neck pickup has lots of pick attack – probably the most pick attack of any neck pickup I’ve ever played. But it’s still very fat and glassy.”
“The 6-string Custom Shop release of this pickup was very popular and we heard a lot from Mark and Mark’s fans who said they wanted extended range versions of that same pickup and the ability to buy it over the counter,” says Seymour Duncan SVP of Products & CRO Max Gutnik. “We’re excited to make them available to more players, with more variety.”
Available as a set, or individual neck or bridge pickups.
6, 7 or 8-string options.
Trembucker option is available for 6-string.
Seymour Duncan Mark Holcomb Alpha/Omega pickups are made in the USA and will be available on March 1, 2017.
About Seymour Duncan
Seymour Duncan celebrates a rich history as the world’s leading pickup and pedal manufacturer. Since 1976, Seymour Duncan has helped the world’s artists develop their own unique, signature sounds. This is accomplished through a dedicated team of craftsman at their Santa Barbara, California office. For more information, please visit seymourduncan.com.
The post Seymour Duncan Releases Mark Holcomb Alpha & Omega Signature Pickups appeared first on I Heart Guitar.
The first thing I noticed was the way the strings break at the bridge at a sideways angle. I've never seen another guitar do that. I wonder how effective it is.
Currently listed at $3295 U.S.
© 2016, Guitarz - The Original Guitar Blog - the blog that goes all the way to 11!
Please read our photo and content policy.
|Larry Coryell playing his Hagstrom Swede guitar|
He was born Lorenz Albert Van DeLinder III in Galveston Texas and grew up in Richland, Washington when his mother re-married. Larry took his beloved stepfather’s surname, Coryell, at this time. He attended the University of Washington and played in some club bands.
|Coryell with Chico Hamilton Quintet|
In 1965 Coryell moved to New York City and attended the Mannes School of Music where he got his first big break by joining drummer Chico Hamilton’s jazz quintet.
|Coryell in the Gary Burton group|
A few years later he recorded with Jazz vibraphone player, Gary Burton.
|The Free Spirits|
He was also part of a Jazz-Rock group called The Free Spirits and recorded with them.
|Larry and Julie Nathanson Coryell|
It was during this time period he married Julie Nathanson, a writer-actress and released a solo LP entitled Lady Coryell. This and subsequent LP’s featured his wife’s photos on the cover as well as her poetry.
|1970 Album Spaces|
In late 1969 he recorded Spaces, the album for which he is best remembered. It was a guitar blow-out that also included John McLaughlin.
|Larry Coryell 1971 Barefoot Boy|
In the early 1970’s he was in a group called Foreplay, Albums from this era include some of his finest, including Barfoot Boy, Offering and The Real Great Escape.
|Coryell at Long View Farm|
After Foreplay disbanded Coryell briefly turned to the acoustic guitar. He returned to the acoustic guitar for albums with the Brubeck Brothers and Mouzon.
|The Guitar Trio|
By 1979 Coryell formed The Guitar Trio with John McLaughlin and Paco de Lucia. The group toured Europe. Sadly his addiction lead to him being replaced by Al Di Meola.
Larry stated that he sought help for his problems and became sober, but attended counselling most of his adult life.
|1967 Super 400|
Throughout his career, Larry Coryell played a variety of interesting guitars. He seemed to be most fond of archtop, hollowbody electrics and even states in an interview that his favorite guitar was his 1967 Gibson Super 400.
|Younger days with the '67 Super 400|
Interestingly, he views guitars as "wood and metal"; Coryell was all about the music.
|Coryell with his first Super 400|
In his younger days he played a different Gibson Super 400. This one was blonde and had a single floating pickup mounted on the pickguard. This guitar was stolen.
|With Hagstrom Swede|
For a long time he played a Hagstrom Swede. This was a solidbody guitar that he says he received when his manager made a deal with the company and he used it for nearly 12 years.
|Coryell with Ovation Adamas|
Coryell also liked the older Ovations that were made in the 70’s, as they were durable road guitars, had great piezo pickups, and had the feel of electric guitars. At one time he even played an Adamas 12 string.
|With Matthews Telecaster|
|Coryell with Parker Guitar|
Larry Coryell is well known for playing a blonde Parker semi-acoustic hollowbody guitar. He also played a similar model with a sunburst finish.
|Coryell with Parker Event Series acoustic|
Coryell must have been fond of Parkers, as he also owned and played a Parker Event Series acoustic steel string guitar, that was made by Washburn.
|Larry Coryell Cort model|
At one point Cort Guitars offered a Larry Coryell model.
|Coryell with his SF Twin Reverb|
For much of his career Coryell relied on Fender Twin Reverb amplifiers. Later in life he only used this amp for loud gigs, instead relying on a Jazz-Kat BluesKat amp or a Henriksen amplifier.
|With Hamer Monaco III|
He said that used little or no reverb, preferring a touch of delay and chorus to get his sound.
|The Original Eleventh House|
He was planning an extensive 2017 summer tour with a reformed the Eleventh House.
He is survived by his wife, Tracey, his daughter Annie, his sons Murali and Julian, and his daughter Allegra, as well as six grandchildren. Both of his sons play guitar and have their own trios
|Dodd's Music was in the white building|
I started taking guitar lessons when I was 13 years old; first at the YMCA in a group setting and then at Dodd’s Music Store, in Covington, Kentucky.
|One of the acts on WLW radio|
My teacher at Dodd's was an old guy named George Olinger. George made a living playing guitar in Country groups around town as well as being a staff guitarist on WLW radio, back in the days when the station played live music.
George taught me the basic chord patterns mainly from the books he had me purchase, which seemed to all be written by one man; Mel Bay.
This got me to wondering, who was Mel Bay?
|Mel 1928 with National Triolian|
Mel grew up in a small Missouri town in the Ozark Mountains. He bought his first guitar at the age of 13 from a Sears and Roebuck catalog. Within months of acquiring the guitar, he was playing in front of people. Mel Bay never had a guitar teacher. He watched other guitar player perform and memorized their fingering on the fretboard.
That is the way I learned to play guitar. I stood in front of bands and watched the lead guitar player and copied his fingerings. I am certain many of you reading this article honed your skills in much the same manner.
Bay was not satisfied to just learn the guitar. No sir. He went on to learn fingerings on the tenor banjo, mandolin, ukulele and Hawaiian slide guitar. This was all back in the 1920's when he was still a young man.
|D'Angelico with "Melbourne Bay" |
engraved on the pickguard
He put together The Mel Bay Trio, which consisted of him, a bass player and a drummer. And this became his steady gig for the next 25 years. His career was briefly interrupted by a stint in the US Army during WWII.
|His custom D'Angelico New Yorker|
He determined some of the material availabe was flawed. It only offered students chord patterns; not the ability to learn notes on the guitar.
So Mel began writing his own instruction books. These books became the basis for the Mel Bay Publication House.
|Mel Bay's 1st Book|
|Mel Bay's 2nd Book|
By 1948 another book was published called Modern Guitar Method. Through the years Modern Guitar Method has sold more than 20 million copies in its original version.
|Mel teaching guitar to |
high school students
By the mid 1950’s Elvis Presley's career was the talk of the nation, and this caused the guitar to experience a surge in popularity. During these years Mel Bay traveled around the country talking to guitar teachers and their students about his publications with the goal of selling them as texts.
In doing this he came to know most every guitar teacher in the United States on a first name basis. Guitar Player Magazine dubbed him as The George Washington of Guitar.
|Mel Bay playing a mandolin|
Since first publishing guitar instruction books, his company has branched off into publishing method books for violin, banjo, mandolin, clarinet, saxophone, trumpet, harmonica, folk instruments, and accordion. His books for guitar include methods for differing styles, including folk, jazz, classical, rock, blues and jazz.
|Mel Bay Book by Tommy Flint|
Mel Bay received a Lifetime Achievement Award from the Guitar Foundation of America from the Retail Print Music Dealers Association and he also received the Owen Miller Award from the American Federation of Musicians.
Bay received a Certificate of Merit from the St. Louis Music Educators Association, as well as a resolution from the Missouri House of Representatives honoring his achievements. He ever was sent a letter of commendation from President Bill Clinton, and was honored by St. Louis mayor Freeman Bosley Jr. Making October 25, 1996 “Mel Bay Day” for citizens of that fair city.
|Mel's D'Angelico New Yorker|
One of Mel's personal guitars was a New Yorker model with a cutaway and a slightly thinner neck custom made for him.
Mel Bay kept playing guitar every day until his death at age 84 in 1997.
|From St. Louis WOF Inductees|
|Ode To Mel Bay|
A song was written by Michael “Supe” Granda of the Ozark Mountain Daredevils called “Ode to Mel Bay”. It is featured on the album by Tommy Emmanuel and Chet Atkins called The Day Finger Pickers Took Over the World. It sort of makes fun of Mel’s instruction books.
|Mel Bay Books|
|1958 Hagstrom Deluxe 90|
This auction marks what would have been Cobain’s 50th birthday had he not taken his own life at age 27. A cardigan sweater once owned by the musician brought in $137,000 USD some years ago. This auction will run from February 16 starting at 11:00 am EST to February 26, 11:00 am EST,
|Owner Nathan Fasold displays the Hagstrom|
The guitar is a vintage 1958 Hagstrom Sparkle Deluxe guitar that is currently owned by Nathan Fasold of Black Book Guitars in Portland.
It has been authenticated by Earnie Bailey, who was formerly Nirvana’s primary guitar tech who personally delivered it to Cobain in 1992. At that time it was converted to a left-handed model.
|Jerry Garcia with Wolf Guitar|
This gorgeous guitar is a 1973 creation of Grateful Dead builder Doug Irwin and was given the name “Wolf” after Garcia affixed a sticker of a cartoon wolf to its lower bout.
Through the years, the guitar went through many updates with pickup combinations.
|Body of Wolf guitar|
Garcia used this guitar for over 20 years before retiring it in 1993.
After Garcia’s death in 1995, a dispute occurred regarding ownership of Garcia’s instruments. As a part of a settlement, Doug Irwin reclaimed this guitar.
|Jerry play Wolf in later years|
He later sold it auction to its current owner for over $700,000. The anonymous owner will auction the Wolf guitar at an event to be held at Williamsburg’s Brooklyn Bowl.
|The back of the Wolf guitar|
The Wolf guitar is an exceptionally gorgeous instrument as was hand-made with book-matched curly western maple for it’s body and the builder also used amaranth wood, also known as purple heart and African ivory. The inlay work on the neck is superb.
|Electro-Harmonix original logo|
We are not like “Guitar George, he knows all the chords. Mind he’s strictly rhythm he doesn’t want to make them cry or sing.” The majority of us want to express ourselves and be heard.
One of the original and most prominent manufacturers of guitar and bass effects pedal is Electro-Harmonix. This company emerged on the scene in New York City back in 1968.
|Mike Matthews in 1979|
Back in 1967 Mike Matthews, the companies owner and founder was a rhythm and blues piano player and had a day time sales job. His friend, Bill Berko, was an audio repairman who had just constructed a circuit for a guitar fuzz pedal.
|'67 Axis and Foxey Lady fuzz pedals|
Under the advice of Matthews, Berko hired a company to construct these pedals under a deal with the Guild Guitar Company and the device was given the name of the Axis fuzz pedal. It was also sold under the name Foxey Lady.
All parties made a little money off the deal, and eventually Berko and Matthews parted ways.
|Mike Matthews 1967|
In 1969 they worked together to create a distortion free sustain device. Some fuzz tones of that era produced a buzz saw like effect that produced some sustain, while others like the Maestro box, just added gain to distort the guitars signal. Guitarists at that time wanted the ability for notes to be played and held, just like those played by horn players.
|Vintage LPB-1 interior|
The price for this unit was about $20 USD, and it was an instant hit. The original units were hand wired with no circuit board.
|1969-70 version Big Muff Pi (π)|
|'75 Big Muff Pi (π) interior|
|Double Muff and Little Muff|
The Little Big Muff was a smaller version of the unit and had a slight variation in the circuit. The NYC Big Muff came with a tone bypass switch that allowed the user to bypass the tone control and another switch the adjusted the frequencies of 3 filters embedded in the circuit.
|EH Bass and Treble boost|
There were several other devices made by Electro-Harmonix in the late 1960's and early 1970's that included a Treble Booster, called the Screaming Bird and a Bass Booster called the Mole, that were made in a similar format to the LPB-1; These small boxes had an input on one end to accept the guitar cable and a plug on the opposite side that went into the amplifier. These units originally sold for around $20 USD.
|EH Slap Back Echo|
The company also produced the Slap-Back Echo box that produced a slap-back effect and came with a filter switch to shape the tone.
|1975 EH Small Stone Phaser|
|EH Band Stone Phase Shifter|
The Bad Stone Phase Shifter was an upgraded circuit that added a Feedback control and a Manual Shift control to filter the sweet spot.
|'77 EH Octave Multiplexer|
Electro-Harmonix came out with an octave box called the Octave Multiplexer which produced the clean signal and a filtered signal an octave below.
|EH Elecric Mistress Flanger|
The Electric Mistress Flanger Chorus Pedal came out in the mid 1970’s and was one of the first multi-effects devices.
|Mid 70's EH Attack Equalizer|
The Electro-Harmonix Attack Equalizer pedal was a combination of a parametric EQ to produce desired equalization and a pre-amplifier to boost the guitars signal.
|1981 EH Graphic Fuzz|
The Electro-Harmonix Graphic Fuzz was not only a fuzztone/distortion unit, but it added a six band graphic eq control section.
|1980 EH Full Double Tracking Effect|
|'77 EH Triggered Y Filter|
The Triggered Y Filter was sort of a phaser unit that allowed the frequency range to be adjusted to Lo or Hi and the amplitude/depth of the filter sweep.
|Late '70's EH Echoflanger|
The Echo Flanger produced a modulated Echo and a flanging effect, similar to what record producer did when they would press their finger or thumb on recording tape to cause the one of the tracks to be slightly delayed.
|1978 EH Memory Man|
The Electro-Harmonix Memory Man, was introduced in 1978 and produced analog delay and echo using “bucket brigage” integrated circuits and incorporated a chorus effect. So the user could choose echo or chorus
|EH Deluxe Memory Man|
Several models of this effect including a stereo version and the Deluxe Memory Man that added a chorus/vibrato feature to the echo.
|EH Small Clone Chorus|
The Small Clone chorus, introduced by EHX around 1981 remains a very popular chorus pedal. it was also produced in two different smaller versions known as the Neo Clone and the Nano Clone.
|EH Holy Grail Reverb|
Electro-Harmonix issued a very popular reverb pedal called The Holy Grail. This pedal came in several different formats including The Holy Grail Plus and the Cathedral. The Holy Stain was a multi-effects pedal that offered two different types of reverb.
Tremolo was one of the very earliest guitar effects and Electro-Harmonix offered a solid-state tremolo/vibrato pedal called the Stereo Pulsar and a tube based model called the Wiggler.
|1972 Mike Matthews Freedom Amp|
|Interior of Freedom Amp with battery clips|
The only drawback was that it took 40 D cell batteries to power the thing. It was also available as a bass model or as a public address amplifier which came with built in reverb.
|'90's EH Freedom Amp|
By 1982 Electro-Harmonix was facing a multiplicity of problems. First there was a labour union dispute. And about the same time the company filed for bankruptcy protection. Two years later, in 1984 Electro-Harmonix was in deeper financial problems and Mike Matthew decided to shift his attention away from the little effects boxes to a new venture.
He launched a new company that he called the New Sensor Corporation, which was based in the Soviet Union. Matthew saw the need for vacuum tubes, which were no longer being manufactured in the United States and in short supply, but were plentiful in the USSR.
|Sovtek Mig 50 amplifier|
These amps were based on popular circuits and can still be found on the web at bargain prices.
|New Sensor EH Russian made Big Muff Pi|
In 1990 Electro-Harmonix resumed the building effect pedals. Some of these were made in Russia through 2009.
|EH 2006 Nano Pedals|
In 2006 the smaller and more standardized "micro" and "nano" effect lines using surface-mount circuit components were introduced.
The circuit board manufacturing was outsourced, but the final assembly of the pedals was done in New York.
|Vintage EH Micro Synthesizer|
When synthesizers came into vogue, EH offered the Micro Synthesizer for guitar or bass and the HOG effects unit; Harmonic Octave Generator.
|An original EH POG|
The POG or Polyphonic Octave Generator was released in 2005 and an enhanced version called the POG 2 came out in 2009. These units allowed your instrument to produce notes 2 octaves up and one octave below the guitars signal.
|EH 22 Caliber Amplifier|
Two of the more interesting and modern Electro-Harmonix creations may look like effects pedals, but are actually amplifiers housed in pedal sized effects box. The EHX 22 Caliber was a 22 watt solid-state amplifer capable of driving an 8 or 16 ohm speaker cabinet.
|EH 44 Magnum Amplifier|
It was discontinued and replaced by the EHX 44 Magnum, which could pump 44 solid-state watts into an 8 or 16 ohm speaker cabinet. These are small enough to pack into your guitar case. It is important to note, these units must be connected to a speaker load to work.
For 2016 and 2017 Electro-Harmonix has developed some amazing pedals that can coax organ or piano sounds from your guitar without the need for special pickups.
The C9 and B9 Organ Machines replicate the sounds of several different types of organs, from Hammond organs to church organs, to combo organs.
|Electro-Harmonix Key 9|
The Key 9 Electric Piano Machine produces a number of electric piano sounds. Combine any of these with the Lester G Deluxe Rotary Speaker emulator or the Lester K Rotary Speaker emulator and as a guitarist you now have all the tools of a keyboard player without the weight of hauling a B-3 and a Leslie cabinet.
|Electro-Harmonix Mel 9|
The Mel 9 Tape Replay Machine produces sounds from your guitar that were only possible with a Mellotron.
|A few of the Electro-Harmonix effects|
Electro-Harmonix now offers a line up that is far too numerous to mention every product. And these include not just guitar effects, but bass effects, drum effects and vocal effects. And they have also updated versions of their original effects that sell at a much lower price than the vintage models.
As a reminder, the sources for the pictures can be found by clicking on the links below them and the links in the text will take you to further interesting facts.
©UniqueGuitar Publishing (text only)