Tone Report Weekly 184 - Page 15

required, the extraordinarily warm and three-dimensional chorus on board the Roland JC120 was used. MXR Distortion+. Around 1978 he had Pete Cornish house all of these boxes in one of his custom pedalboards, which contained a master on/off switch so several effects could be kicked on at once. Besides modulation, Andy Summers’s other sonic signature was the delay. As stated previously, he had an MXR Analog Delay installed in his Cornish pedalboard, but his primary echo tone was actually from a pair of Maestro Echoplexes. Like the Electric Mistress, the Echoplex is essential for early Police tones. Summers used two of them in tandem for the gorgeous ricochets of echo that grace songs like “Regatta De Blanc” and “Walking On The Moon.” He also used a Roland Space Echo at some point, but the Echoplexes were always his tried-and- true workhorses. You might have noticed that there was no chorus on his pedalboard. This is because Andy actually used an Electric Mistress flanger to get those distinctively chorus-like modulation tones. Basically, the idea is to keep the rate and range controls on the pedals dialed back. This results in a rich, warm, chorusy sound without the signature flanger swish. The Electric Mistress is a key ingredient to early Police guitar tones, as it is quite difficult to replicate them convincingly with a chorus or other flanger pedal. For later Police records, when a real chorus tone was 15