The EchoSonic is a guitar amplifier made by Ray Butts. It was the first portable guitar amplifier with a built-in tape echo effect, and it allowed guitar players to use slapback echo, which dominated 1950s rock and roll guitar playing, on stage. He built the first one in 1953 and sold the second one to Chet Atkins in 1954. He built fewer than seventy of those amplifiers; one of them was bought by Sam Phillips and then used by Scotty Moore on every recording he made with Elvis Presley, from the 1955 hit song "Mystery Train" to the 1968 TV program Comeback Special . [1] Deke Dickerson called the amplifier the Holy Grail of rockabilly music. [2]
Ray Butts, an "electronics wiz," owned a music store in Cairo, Illinois, in the early 1950s. By this time, rockabilly and other guitar players (such as Les Paul) had discovered the "slapback" echo effect, which had become generally used but could, however, only be made in a studio setting. [1] Butts thought that maybe guitar players would want to use the effect on stage, [3] and using a Gibson 15-watt amplifier with a pair of 6V6 tubes, [1] he fabricated a combo amplifier with a built-in tape echo [3] for a local guitar player named Bill Gwaltney. [1]
Butts took the second version of his EchoSonic to Nashville, where he looked up Chet Atkins in the phone book; the next night, Atkins used the amp at the Grand Ole Opry, having given Butts $395 and a 100-dollar Fender combo for it (this at a time when a top-of-the-line Fender Twin cost $239). [1] The collaboration between the two produced more than just good advertising for Butts: he helped Atkins set up a recording studio, and in 1954 or 1955, prompted by Atkins, he invented a humbucker pickup which was adopted by Gretsch and introduced in their Atkins-endorsed Gretsch 6120 in 1957 as the FilterTron pickup, creating what would become the legendary "twangy" Gretsch sound. [4] Atkins recorded much of his music of the 1950s with the Echosonic, [5] and in his autobiography spoke of the connection between the amplifier and the humbucker (the first humbucker, according to Atkins, but Gibson patented their PAF before Butts did): the pickups on Atkins Gretsch produced an awful hum in conjunction with an unshielded transformer in the EchoSonic, leading Butts to connect two single-coil pickups in series and out of phase, creating the first humbucker. [6]
Scotty Moore, who at the time was recording with Sam Phillips (whose Sun Studio had the equipment for slapback echo), became aware of the Echosonic from listening to Atkins on the radio [1] and called Butts to have one built for him; [7] according to Moore, this was the third EchoSonic ever built [8] though Dave Hunter claims this is incorrect, that Moore's has serial number 8. [1] He bought the EchoSonic specifically to emulate Atkins's sound, [9] and bought another one in the late 1980s or early 1990s, serial number 24—an amplifier that had belonged to Paul Yandell and that Moore later sold to Deke Dickerson. Since the EchoSonic lacked power for large live venues, Butts later made a set of 50-watt "satellite" amplifiers and cabinets, "to enable Moore's lithe rockabilly riffs to be heard on a stage in front of thousands of screaming Elvis fans." [1]
The combination of Moore's Gibson Super 400 with the Echosonic ("a jazz classic meets a rock'n'roll revolution" [10] ) became legendary. Soon, many seminal rock and roll players, including Carl Perkins, started using an EchoSonic, which in turn led to other manufacturers producing individual tape echo units that could be used in the studio as well as on stage. [11] One of those tape units was the Echoplex, which started as a copy of the echo unit from an EchoSonic, and became one of the most important echo effects of the twentieth century. [12]
The EchoSonic is a combo amplifier "the size of a traveling salesman's battered suitcase" with, like most tweed amplifiers of the era, the control panel on the top. It has a single 12" speaker (made by University). The first versions produced 15 watts from 2 6V6 tubes but lacked "punch"; by the time Scotty Moore bought his amplifier, Butts had replaced the 6V6s with 6L6 tubes, increasing the output to 25 watts. The pre-amplifier section had four 12AU7s, two 12AY7s, a 12AX7 (originally a 12AD7), and a 6C4. The amplifier has a control for bass/treble (whose functionality (but not implementation) resembles that of a Baxandall circuit), two volume controls for microphone and instrument, and three controls for the echo circuit, but the delay time is not adjustable. The amplifier is delicate and requires a lot of maintenance: tubes run hot, and the echo circuit is delicate and needs frequent cleaning, oiling, and de-magnetizing. But according to amplifier restorer Frank Roy, the wiring is "meticulous", all done point-to-point and with "top-quality components". [1]
An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.
Winfield Scott Moore III was an American guitarist who formed The Blue Moon Boys in 1954, Elvis Presley's backing band. He was studio and touring guitarist for Presley between 1954 and 1968.
A single coil pickup is a type of magnetic transducer, or pickup, for the electric guitar and the electric bass. It electromagnetically converts the vibration of the strings to an electric signal. Single coil pickups are one of the two most popular designs, along with dual-coil or "humbucking" pickups.
A semi-acoustic guitar, also known as a hollow-body electric guitar, is a type of electric guitar designed to be played with a guitar amplifier featuring a fully or partly hollow body and at least one electromagnetic pickup. First created in the 1930s, they became popular in jazz and blues, where they remain widely used, and the early period of rock & roll, though they were later largely supplanted by solid-body electric guitars in rock.
The Gretsch 6120 is a hollow body electric guitar with f-holes, manufactured by Gretsch and first appearing in the mid-1950s with the endorsement of Chet Atkins. It was quickly adopted by rockabilly artists Eddie Cochran, Duane Eddy, and later by Eric Clapton, Brian Setzer, Reverend Horton Heat, and many others. Pete Townshend received one as a gift from Joe Walsh in 1970, which he would later use on recordings for Who's Next and Quadrophenia. Poison Ivy Rorschach of The Cramps notably played a 1958 Gretsch 6120, which she bought in 1985. She said it was her favourite guitar to play. After George Harrison played Gretsch Country Gentleman and Tennessean models, Gretsch found that they could scarcely keep up with demand.
Gretsch is an American company that manufactures and markets musical instruments. The company was founded in 1883 in Brooklyn, New York by Friedrich Gretsch, a 27-year-old German immigrant, shortly after his arrival to the United States. Friedrich Gretsch manufactured banjos, tambourines, and drums until his death in 1895. In 1916, his son, Fred Gretsch Sr. moved operations to a larger facility where Gretsch went on to become a prominent manufacturer of American musical instruments. Through the years, Gretsch has manufactured a wide range of instruments, though they currently focus on electric, acoustic and resonator guitars, basses, ukuleles, and drums.
Joseph Raymond Butts was an American inventor and engineer best known for designing several devices that influenced the evolution of electrified music, in particular those used with the electric guitar. Most notably, Butts is the inventor of the EchoSonic, a guitar amplifier with a built-in tape echo, and the FilterTron, the first humbucker guitar pickup. He was active in other fields from studio equipment maintenance to sound engineering, and had intimate working relationships with people such as Sam Phillips at Sun Studios and Chet Atkins.
Delay is an audio signal processing technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is mixed with the live audio, it creates an echo-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of a repeating, decaying echo.
The Echoplex is a tape delay effect, first made in 1959. Designed by Mike Battle, the Echoplex set a standard for the effect in the 1960s—it is still regarded as "the standard by which everything else is measured." It was used by some of the most notable guitar players of the era; original Echoplexes are highly sought after.
Deke Dickerson is an American singer, songwriter, guitarist and film composer.
Burns Guitars London is an English manufacturer of electric guitars and bass guitars, founded by Alice Louise Farrell (1908–1993) and James Ormston (Jim) Burns (1925–1998) in 1959.
The Gibson ES series of semi-acoustic guitars are manufactured by the Gibson Guitar Corporation.
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A Session with Chet Atkins is the third studio album recorded by American guitarist Chet Atkins. It features Atkins introducing standard pop and jazz melded with country sensibilities. The liner notes state this is the first use of a celeste on a country record. The musicians include Homer and Jethro in the rhythm section. Atkins uses his new EchoSonic amplifier for the first time on his recordings.
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