echoplex

Tape echoes work by recording sound on a magnetic tape, which is then played back; the tape speed and distance between the recording and playback heads determine the delay time, while a feedback variable (where the delayed sound is fed back into the input) allows for multiple echoes.{{Cite book|last=Milano|first=Dominic|title=Multi-Track Recording|publisher=Hal Leonard|year=1988|page=37|url=https://books.google.com/books?id=flNjvqwwCAgC&pg=PA37|isbn=978-0-88188-552-1}} The predecessor of the Echoplex was a tape echo designed by Ray Butts in the 1950s, who built it into a guitar amplifier called the EchoSonic. Butts built fewer than seventy EchoSonics for guitarists including Chet Atkins, Scotty Moore, and Carl Perkins.{{cite news|title=The Ray Butts EchoSonic|last=Hunter|first=Dave|date=April 2012|work=Vintage Guitar|pages=46–48}} Mike Battle later copied Butts' tape echo and built it into a portable unit;{{cite book|last=Hunter|first=Dave|title=Guitar rigs: classic guitar & amp combinations|url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PA54|access-date=11 February 2012|year=2005|publisher=Hal Leonard |isbn=978-0-87930-851-3|page=54}} another version of the story holds that Battle based his design on one by Don Dixon.{{cite news|title=Echoplex EP-2|last=Dregni|first=Michael|date=July 2012|work=Vintage Guitar|pages=54–56}}

According to Battle, "We sold the first 500 units to C.M.I. in Chicago in 1959. The Echoplex was sold through Chicago Musical Instruments, CMI."{{cite web |title=Interview with Mike Battle{{smaller| - Inventor of the legendary Echoplex tape delay}} |url=https://loopersdelight.com/musings/Mike_Battle/Mike_Battle.html|website=Looper's Delight |quote={{smaller|LD> When did the first Echoplex units reach the market? How many were made in the early years? / MB> We sold the first 500 units to C.M.I. in Chicago in 1959. The Echoplex was sold through Chicago Musical Instruments, CMI.}}}} The main innovation of the Echoplex was a moving record head, which allowed for variable delay time without changing the tape speed. In 1962, their patent was bought by Market Electronics of Cleveland, Ohio. Market Electronics built the units and kept designers Battle and Dixon as consultants; they marketed the units through distributor Maestro. In the 1950s, Maestro was a leader in vacuum tube technology. It had close ties with Gibson, and often manufactured amplifiers for Gibson. Later, Harris-Teller of Chicago took over production.

The first tube Echoplex units had no numerical designation, but this model was retroactively designated the EP-1 after the first revision was dubbed the EP-2. These two units were noted for their "warm, round, thick echo" and the sound quality of the tube preamplifier section.{{Cite book |last=Hunter |first=Dave |url=https://books.google.com/books?id=myP-4CZWyxcC&pg=PT78 |title=Guitar effects pedals: the practical handbook |publisher=Hal Leonard |year=2004 |isbn=978-0-87930-806-3 |pages=77–78}}{{Cite book |last=Hunter |first=Dave |url=https://books.google.com/books?id=p1-kULtG9tgC&pg=PT55 |title=Guitar rigs: classic guitar & amp combinations |publisher=Hal Leonard |year=2005 |isbn=978-0-87930-851-3 |page=55}} Two of Battle's improvements over earlier designs were key: the adjustable tape head and a cartridge containing the tape, protecting it to retain sound quality.

While Echoplexes were used mainly by guitar players (and the occasional bass player, such as Chuck Rainey,{{cite book|last=Friedland|first=Ed|title=R&B Bass Masters: The Way They Play|url=https://books.google.com/books?id=eKCGMCOlisgC&pg=PA19|year=2005|publisher=Hal Leonard|isbn=9781617745270|page=19}} or trumpeter, such as Don Ellis{{cite book|title=A Short History of Jazz|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=PA200|year=1993|publisher=Rowman & Littlefield|isbn=9780830415953|page=200}} or Miles Davis),{{cite book |last1=Carter |first1=Ron |url=https://books.google.com/books?id=j0r0AwAAQBAJ&pg=PA150 |title=Miles Davis: The Complete Illustrated History |last2=Terry |first2=Clark |last3=White |first3=Lenny |publisher=MBI |year=2012 |isbn=9781610586825 |page=150}}{{cite book|last=Szwed|first=John|title=So What: The Life of Miles Davis|url=https://archive.org/details/sowhatlifeofmile00szwed|url-access=registration|year=2004|publisher=Simon and Schuster|isbn=9780684859835|page=[https://archive.org/details/sowhatlifeofmile00szwed/page/288 288]}} many recording studios also used them.{{Cite book|last=Hurtig|first=Brent|title=Multi-track recording for musicians|publisher=Alfred|year=1988|page=51|url=https://books.google.com/books?id=ByJG1iwUHBAC&pg=PA51|isbn=978-0-88284-355-1}}

Market Electronics held off on using transistors while other companies made the transition. Nevertheless, in the late 1960s they set Battle and Dixon to the task of creating the first transistorized Echoplexes. Once the two were satisfied, the solid-state Echoplex was offered by Maestro beginning in 1970 and designated the EP-3; Battle, unhappy with the sound of the EP-3, sold his interest in the company. The EP-3 offered a sound-on-sound mode and a number of minor improvements. The EP-3 enjoyed the longest production run of all the Echoplex models, being manufactured until 1991. Around the time of the public introduction of the EP-3, Maestro was taken over by Norlin Industries, then the parent company of Gibson.

File:Maestro Echoplex EP-4 with analog meter (edit1).jpg

In the mid-1970s, Market created an upgrade to the EP-3, designated the EP-4, adding features such as an LED input meter, an output buffer, and tone controls, and dropping the sound-on-sound feature. A compressor board based on the CA3080 transconductance amplifier was added to the record circuit of both the EP-3 and EP-4 models for a short while after the EP-4 model was introduced, but later dropped from both.{{cite news|title=Echoplex: Roots of Echo, part IV|last=Teagle|first=John|date=7 December 2004|work=Vintage Guitar}}

Battle's final work with Market yielded the EM-1 Groupmaster, which offered a four-channel input mixer section and a mono output section. Dissatisfied with the direction Maestro was taking, Battle left the company.

File:Gibson Echoplex Digital Pro.jpg

At the end of the 1970s, Norlin folded and their Maestro brand and Market Electronics was forced to find another distributor for their products. They found that distributor in Harris Teller, a Chicago musical wholesaler. Units built for Harris Teller carried an Echoplex badge that omitted the Maestro name. In 1984, Harris Teller bought out the Echoplex name and the remaining stock of Echoplex parts from Market Electronics. Harris Teller used the back stock to assemble reissues of the EP-3 and EP-4 as well as the EP-2, which was designated the EP-6t. In 1991, the thirty-year run of tape Echoplex production finally came to an end. The Echoplex brand was purchased by Gibson later that decade and applied to a line of digital looping delays,{{cite web |title=Looping: A talk with Matthias Grob |url=http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |work=Gibson News |date=December 13, 2004 |publisher=Gibson Labs, Gibson Guitar Corporation |access-date=January 7, 2011 |archive-url=https://web.archive.org/web/20110622084851/http://www.gibson.com/absolutenm/templates/_gibsonnewstemplate.aspx?articleid=184&zoneid=2 |archive-date=June 22, 2011 |url-status=dead }}{{Cite journal|last=Teagle|first=John|year=2004|title=Roots of Echo Pt4|journal=Vintage Guitar Magazine Online|volume=1|issue=1|page=1|access-date=7 December 2004|url=http://www.vintageguitar.com/features/brands/details.asp?AID=1170|url-status=dead|archive-url=https://web.archive.org/web/20081204233647/http://www.vintageguitar.com/features/brands/details.asp?AID=1170|archive-date=4 December 2008}}) one of which was sold under the Oberheim brand as the Echoplex Digital Pro.{{cite journal

|title=NAMM '94 Report |url=http://www.soundonsound.com/sos/1994_articles/mar94nammreport.html?print=yes |journal=Sound on Sound |issue=March 1994}}

{{As of|2019}}, Echoplex is a trademark of Dunlop Manufacturing,{{cite web |title=Trademarks |url=https://www.jimdunlop.com/category/legal.do#legal_trademarks |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}} which uses it for a digital delay pedal that emulates the sound of tape Echoplexes.{{cite web |title=ECHOPLEX® DELAY |url=https://www.jimdunlop.com/product/ep103-7-10137-08166-6.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}} Dunlop also manufactures FET-based preamplifier pedal modeled on the EP-3's preamplifier.{{cite web |title=ECHOPLEX® PREAMP |url=https://www.jimdunlop.com/product/ep101-7-10137-06930-5.do |website=Jim Dunlop |publisher=Dunlop Manufacturing |access-date=10 March 2019}}

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• Duane Allman{{cite news|last=Gress|first=Jesse|title=10 Things You Gotta Do to Play Like Duane Allman|newspaper=Guitar Player|date=April 2007|pages=110–17}}
• Chet Atkins
• Tommy Bolin,{{cite book|last=Molenda|first=Mike|title=The Guitar player book: 40 years of interviews, gear, and lessons from the world's most celebrated guitar magazine|year=2007|publisher=Hal Leonard|isbn=978-0-87930-782-0|author2=Les Paul|page=187}}{{cite book|last=Méndez|first=Antonio|title=Guía del pop y el rock, años 60: aloha PopRock|year=2007|publisher=Editorial Visión Libros|isbn=978-84-9821-569-4|url=https://books.google.com/books?id=IBXw9YpLhuYC&pg=PA411|page=411}}{{cite book|last=Ross|first=Michael|title=Getting great guitar sounds: a non-technical approach to shaping your personal sound|year=1998|publisher=Hal Leonard|isbn=978-0-7935-9140-4|url=https://books.google.com/books?id=CddgbKkAoxYC&pg=PA45|page=45}} especially for the "ray-gun" effect heard on Billy Cobham's Spectrum{{cite journal | last = Blackett | first = Matt | title = The 50 Greatest Tones of All Time | journal = Guitar Player | volume = 38 | issue = 10 | pages = 44–66 | date = October 2004 }}
• Wes Borland{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The new metal masters|publisher=Hal Leonard|year=2004|page=70|url=https://books.google.com/books?id=3Yw_qDQxNLAC&pg=PA70|isbn=978-0-87930-804-9}}
• Miles Davis{{Cite book|last=Carr|first=Ian|title=Miles Davis: the definitive biography|publisher=Thunder's Mouth Press|year=1999|page=[https://archive.org/details/milesdavisdefini0000carr/page/261 261]|isbn=978-1-56025-241-2|url=https://archive.org/details/milesdavisdefini0000carr|url-access=registration|access-date=5 February 2010}}
• East Bay Ray{{Cite book|last=Foley|first=Michael Stewart|title=33 1/3 Series - Fresh Fruit for Rotting Vegetables|publisher= Bloomsbury Publishing|year=2015|page=55|isbn=9781623562441 |url=https://books.google.com/books?id=3ZW6BwAAQBAJ}}
• Don Ellis{{Cite book|last=Yurochko|first=Bob|title=A Short History of Jazz|publisher=Rowman & Littlefield|year=2001|page=175|url=https://books.google.com/books?id=C5xPc2jwkNEC&pg=RA1-PA175|isbn=978-0-8304-1595-3}}
• Jerry Goldsmith{{cite book|last=Timm|first=Larry M.|title=The soul of cinema: an appreciation of film music|year=2003|publisher=Prentice Hall|isbn=978-0-13-030465-0|page=228}}{{cite book|last=Cramer|first=Alfred W.|title=Musicians and Composers of the 20th Century-Volume 2|year=2009|publisher=Salem Press|isbn=978-1-58765-514-2|page=514}}
• Steve Hackett{{Cite book|last=Giammetti|first=Mario|title=Genesis: Il fiume del costante cambiamento|publisher=Editori Riuniti|year=2004|page=336|isbn=88-359-5507-6}}
• Eric Johnson{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003| pages=20|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA20|isbn=978-0-87930-751-6}}{{Cite book|last=Fischer|first=Peter|title=Masters of Rock Guitar 2: The New Generation, Volume 2|publisher=Mel Bay|year=2006|page=67|url=https://books.google.com/books?id=ctDTmoh3vDAC&pg=PA67|isbn=978-3-89922-079-7}}
• John Martyn{{Cite web|title=John Martyn Biography|publisher=AllMusic|url={{Allmusic|class=artist|id=p2063|pure_url=yes}}|access-date=2009-11-09}}
• Brian May{{Cite book|last=Campion|first=Chris|title=Walking on the Moon: The Untold Story of the Police and the Rise of New Wave Rock|publisher=John Wiley and Sons|year=2009|page=62|url=https://books.google.com/books?id=ODs8IEzC4Z0C&pg=PA62|isbn=978-0-470-28240-3}}
• Steve Miller{{cite news|last=Gress|first=Jesse|title=10 Things You Gotta Do To Play Like Steve Miller|newspaper=Guitar Player|date=February 2011|pages=75–88}}
• Gary Moore{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003|page=10|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA10|isbn=978-0-87930-751-6}}
• Jimmy Page
• Jeff Plewman (Nash the Slash)
• Chuck Rainey{{Cite book|last=Friedland|first=Ed|title=The R&B Bass Masters: The Way They Play|publisher=Hal Leonard|year=2005|pages=17, 19|url=https://books.google.com/books?id=QqNdKMf6q8UC&pg=PA19|isbn=978-0-87930-869-8}}
• Randy Rhoads{{Cite journal|last=Gress|first=Jesse|date=May 2009|title=10 Things You Gotta Do to Play Like Randy Rhoads|journal=Guitar Player|volume=43|issue=5|pages=98–105}}
• Joe Satriani{{Cite book|last=Prown|first=Pete|author2=Lisa Sharken|title=Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players|publisher=Hal Leonard|year=2003|page=68|url=https://books.google.com/books?id=vqQjuzPrqIwC&pg=PA68|isbn=978-0-87930-751-6}}
• Neal Schon{{Cite journal|last=Marshall|first=Wolf|date=April 2010|title=Fretprints: Neal Schon|journal=Vintage Guitar|volume=24|issue=6|pages=66–70}}
• Sonny Sharrock{{Cite book|last=Chambers|first=Jack|title=Milestones: the music and times of Miles Davis|publisher=Da Capo|year=1998|page=203|isbn=978-0-306-80849-4|url=https://books.google.com/books?id=nNHpQ1b9Q5gC&pg=RA1-PA203}}
• Andy Summers
• Eddie Van Halen{{Cite book|last=Newquist|first=H.P.|author2=Rich Maloof|title=The hard rock masters|publisher=Hal Leonard|year=2004|pages=31, 34|url=https://books.google.com/books?id=nOKYUcPvysMC&pg=PA31|isbn=978-0-87930-813-1}}{{Cite journal|last=Gill|first=Chris|title=Some Kind of Monster|journal=Guitar World|volume=28|issue=3|pages=56–62, 104|date=March 2007|url=https://books.google.com/books?id=gvsDAAAAMBAJ&pg=PA62|issn=1045-6295|access-date=2009-09-28}} {{Dead link|date=October 2010|bot=H3llBot}}
• Joe Walsh{{Cite news|last=Crockett|first=Jim|title=Joe Walsh, a Pro Replies|work=Guitar Player|page=6|date=October 1972}}{{Cite web|title=Ten Things You Gotta Do to Play Like Joe Walsh|publisher=Guitar Player|url=http://www.guitarplayer.com/article/10-things-you/apr-07/27270|access-date=2010-03-24}}
• Keller Williams{{Cite web|title=Low-End Loop Master|publisher=Premier Guitar|url=http://www.premierguitar.com/Magazine/Issue/2012/Mar/Keller_Williams_Low_End_Loop_Master.aspx|access-date=2012-02-17}}
• Neil Young{{Cite web|last=Obrecht|first=Jas|title=Neil Young's Guitar Equipment|publisher=Guitar Player|date=March 1992|url=http://thrasherswheat.org/ptma/equip.htm|access-date=2012-08-13}}
• Doug Martsch{{cite web |title=Proceed With Caution-Built to Spill Frontman Doug Martsch Lets a Little Digital Into His Life |url=https://www.keyboardmag.com/miscellaneous/proceed-with-caution-built-to-spill-frontman-doug-martsch-lets-a-little-digital-into-his-life |website=keyboardmag.com |publisher=Keyboard Magazine |access-date=20 April 2020}}
• DJ Kool Herc{{cite web | url=https://www.waxpoetics.com/connections/new-york-djs/article/kool-dj-herc-vs-pete-dj-jones/ | title=Essential DJ history: Kool DJ Herc vs. Pete DJ Jones }}

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• Binson Echorec
• Watkins Copicat

{{Reflist}}

{{Commons category|Echoplex}}

• [https://www.namm.org/library/oral-history/mike-battle Mike Battle Interview] at NAMM Oral History Collection (2002)

Category:Effects units

Category:Products introduced in 1959