Radioactive
TONE
In the late ‘60s and early ‘70s, it seemed like
everyone was using effects—after all, the
first fuzz pedals were marketed as ways to
get guitars to sound like horns and cellos.
Of course, we know these ancient fuzzboxes
as germanium-powered splat machines, but
back then they appealed to broad swaths of
musicians. The market was ripe, and the effects
world was blossoming. Here was a brand new
avenue of musical instruments (think about the
last time a new innovation swept the musician
community—the guitar amp) ready to be
harvested, with the added bonus of being
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much easier to design and manufacture than
an amplifier. Some of the first effects, such
as the Rangemaster, used just nine electronic
components—this opened the door for many
companies to form pedal subdivisions with
the intention of cashing in and making out like
bandits.
Of course, this is one possible theory about how
the Victoreen Instrument Company, and by
proxy, Jordan Electronics, got into the effects
building industry despite having previously
produced Geiger counters and other wholly
non-musical products. Theoretically, engineers
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