CW: There are a lot of octave pedals
that have unique tracking, but with
Luminary we use the Sharc DSP platform
on an Analog Devices processor and
robust AD/DA converters so you get a
powerful tracking machine and the ability
to manipulate how the tracking sounds
with much more variety.
With Monument, we got obsessed with
the Blake Mills record called Heigh Ho
where he uses an effect called harmonic
tremolo, which takes highs, lows and
manipulates them opposite of each other.
Really dances the line between tremolo
and phase. We wanted that sound, but
with modern control. We wanted a tap
tempo, different wave options, and a
volume boost because tremolo pedals
don’t normally have volume.
For decades now, guitarists in search of
pure tone have been taking the tube-
powered audio sections of vintage film
projectors and using them as guitar
amps. Working off this trend, we ordered
one of the Bell & Howell Filmosound 385
projectors off eBay for like $35 and took
what we learned about the projector and
put it in a little box, which is the 385.
The Julia started when we got really into
the Ryan Adams self-titled record that
came out in 2014. It has clean Jazzmaster
and chorus slathered all over it, so we
met up with Ryan and his techs about
chorus pedals in 2015 up in Tulsa before
a show—a story in itself—and from there,
began crafting. Out of that came Julia.
We fell in love Swedish death metal and
‘90s Shoegaze guitar tones. Trying to
get that sound out of the pedal, we were
heavily inspired by the Boss HM-2, which
is how Red came to be.
ToneReport.com
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