Echoplex EP-2

The Echoplex is a tape delay effect, first made in 1959. Designed by Mike Battle,^[1] the Echoplex set a standard for the effect in the 1960s--it is still regarded as "the standard by which everything else is measured."^[2] It was used by some of the most notable guitar players of the era; original Echoplexes are highly sought after.

The original tube Echoplex[link]

Tape echos work by recording sound on a magnetic tape which is then played back; the tape speed or distance between heads determine the delay, while a feedback variable (where the delayed sound is delayed again) allows for a repetitive effect.^[3] 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. He built fewer than seventy of them (they were used by players like Chet Atkins, Scotty Moore, and Carl Perkins) and could never keep up with the demand.^[4] Electronics technician Mike Battle copied the design and built it into a portable unit;^[5] another version, however, states that Battle, working with a guitar player named Don Dixon from Akron, Ohio, perfected Dixon's original creation.^[2]

The first Echoplex with vacuum tubes was marketed in 1961. Their big innovation was the moving head, which allowed the operator to change the delay time. In 1962, their patent was bought by a company called Market Electronics in Cleveland, Ohio. Market Electronics built the units and kept designers Battle and Dixon as consultants; they marketed the units through distributor Maestro, hence the name, Maestro Echoplex. 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.^[2] The first tube Echoplex had no number designation but was retro-designated the EP-1 after the unit received its first upgrade. The upgraded unit was designated the EP-2.^[1] These two units set the standard for the delay effect, with their "warm, round, thick echo."^[6] Two of Battle's improvements over earlier designs were key: the adjustable tape head, which allowed for variable delay, and a cartridge containing the tape, protecting it to retain sound quality.^[2]

The Echoplex wasn't notable just for the delay, but also for the sound; it is "still a classic today, and highly desirable for a range of playing styles...warm, rich, and full-bodied."^[7] The delay could be turned off and the unit used as a filter, thanks to the sound of the vacuum tubes; this is how Andy Summers uses it, for instance.^[8] A later model was called the EP-2.^[1]

While Echoplexes were used mainly by guitar players (and the occasional bass player, such as Chuck Rainey, or trumpeter, such as Don Ellis), many recording studios also used the Echoplex.^[9]

The Solid-state Echoplex[link]

EP-3[link]

Market Electronics held off on using transistors while other companies made the transition. Nevertheless, in the late '60s they set Battle and Dixon to the task of creating the first transistor version of their product. Once the two were satisfied, beginning in the 1970s, the solid-state Echoplex was offered by Maestro^[6] and designated the EP-3, but Mike Battle, unhappy with the sound of the EP-3, sold his interest in the company.^[1] This unit offered echo, sound-on-sound, and a number of little convenience tweaks. Having been produced from 1970 to 1991, this unit enjoyed the longest production run of all the Echoplex models. Right about the time of the public introduction of the EP-3, Maestro was taken over by Norlin industries, then the parent company to Gibson Guitars.^[2]

EP-4[link]

In the mid-1970s Market created an upgrade to the EP-3, designated the EP-4, adding features such as an LED input meter and tone controls and dropping the sound-on-sound feature. The EP-4 has an added output buffer to help improve impedance interfacing with other equipment. 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 and then the compressor board was dropped from both the EP-3 and EP-4 models. The EP-3 model was also offered for sale alongside the EP-4 model after the EP-4 was introduced.^[10]

Battle's final consulting with Market yielded the EM-1 Groupmaster, which offered a four-channel input mixer section and a mono output section. Dissatisfied with the transistor-minded direction Maestro was taking, Butts left the company.^[2] In the mid-'70s Maestro also created the ES-1 Sireko (pronounced "Sir-Echo"), a simplified, echo-only unit with a bin-loop cartridge system.^{[citation needed]}

End of the brand[link]

Gibson Echoplex Digital Pro

At the end of the '70s, 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 all the back stock of Echoplex parts from Market Electronics. Harris Teller used the back stock to assemble reissues of the EP-3, EP-4, and tube EP-2 (which they designated the EP-6t). In 1991, the thirty-year run of electro-mechanical Echoplex production finally came to an end. Towards the middle of that decade the Echoplex brand was purchased by Gibson and applied to its line of digital looping units,^[11][12] one of which was sold under the Oberheim brand as the Echoplex Digital Pro.^[13]

Notable users[link]

References[link]

Miami Horror
Miami Horror performing at the Big Day Out in Claremont, Australia, 31 January 2010
Background information
Origin	Melbourne, Victoria, Australia
Genres	Electropop, electroclash, synthpop,[1] indietronica, nu-disco
Years active	2007–present
Labels	EMI
Associated acts	Gameboy/Gamegirl
Website	www.miamihorror.com
Members
Benjamin Plant Josh Moriarty Aaron Shanahan Daniel Whitechurch

Miami Horror are an Australian indietronica band from Melbourne, Victoria with a disco-house throwback style. Miami Horror can refer to its producer, Benjamin Plant, or its four-piece live incarnation.

Biography[link]

Miami Horror take influence from dance-pop artists of the 1970s and 1980s such as Prince, E.L.O., New Order and Michael Jackson, as well as progressive rock acts such as Todd Rundgren, Supertramp and Pink Floyd, and combine it with modern production techniques.

In 2007 under the moniker Miami Horror, Plant started with a series of remixes, both bootleg and official that included Stardust's "Music Sounds Better with You" and Tegan and Sara's "Walking with a Ghost", along with contemporary Australian acts such as the Midnight Juggernauts and Grafton Primary.

Plant began his music career early on, producing music at home from a young age, often DJing at house parties and regular weekly Melbourne club nights such as Streetparty and Third Class. He since remixed Pnau, The Presets, Bloc Party, Datarock and The Dirty Secrets in 2008.^[2] Miami Horror has also collaborated with Melbourne electropop group Gameboy/Gamegirl in 2007 and produced the Golden Ghetto Sex EP which featured the single "Sweaty Wet/Dirty Damp", a one-off single that became a leftfield hit in the music blogosphere the same year.^[3]

As Miami Horror, Plant made his commercial debut in 2008 with a five-track EP, Bravado, on Virgin Records. The EP features the song "Don't Be On with Her", for which a promotional video was released online.^[4] Miami Horror has since been signed to EMI Music for distribution in Australia and France.

Miami Horror's live show is augmented by Josh Moriarty (Peacocks, ex-Young & Restless) (guitars, DJ/producer Aaron Shanahan (drums), and Daniel Whitechurch (bass, keyboards, and guitars).^[5] The live incarnation of Miami Horror appeared at the Field Day, Big Day Out, Good Vibrations, 'Groovin The Moo'^[6] and Splendour in the Grass festivals in 2009. The band also supported indie acts Phoenix, Simian Mobile Disco and Friendly Fires on their Australian tours in 2009-2010.^[2]

In late 2009 the band achieved commercial success with their first major single "Sometimes", released as a standalone single and later on their debut album, receiving frequent airplay on radio stations, as well as being played on the club circuit.

Lily Allen was supported by Miami Horror on their 2010 Big Day Out sideshow tour at Festival Hall.

Miami Horror released their debut album Illumination on August 20, 2010,^[7][8] and the singles "Moon Theory" (released April 16, 2010), "I Look to You" and "Holidays".^[9]

The single "I Look to You" featuring Kimbra was premiered by Richard Kingsmill on Triple J's music show on Sunday July 27, 2010. Another single from Illumination, "Holidays" has also achieved success and features Alan Palomo of Neon Indian, who features on three songs on the record.

Members[link]

• Benjamin Plant - production, keyboards, bass
• Josh Moriarty - guitars, vocals
• Aaron Shanahan - drums
• Daniel Whitechurch - keyboards

Discography[link]

Studio albums[link]

• Illumination (2010)^[7][10]

EPs[link]

• Bravado (2008)

Singles[link]

• "Sometimes" (2009)^[11]
• "Moon Theory" (2010)^[11]
• "I Look to You" (featuring Kimbra) (2010)^[11]
• "Holidays" (featuring Alan Palomo) (2010)^[11]
• "Summersun" (2011)^[11]
• "Under the Milky Way" (2011) -- cover of The Church hit

References[link]

External links[link]

• Official website