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The One :
1947 - Designed to resurrect the sound of the airwaves when the likes of Django Reinhardt and Charlie Christian were grazing them with greater ubiquitousness. I wanted to give the player the feeling of broadcasting oneself through a radio in a post-war family’s living room.
1949 - Designed to target the sonic footprints of the likes of Les Paul in his earliest years as a recording artist, as well as contemporaries like The Ink Spots and even moving ahead into Barney Kessel territory.
1953 - Designed to replicate the warm bell like guitar tones of the early 50’s which I find almost impossible to recreate without a design such as this. As with all circuits in the series, don’t be afraid to be heavy handed with the High Pass/Low Cut control. While I find this to be an incredibly useful tool not found on many analog effects pedals, you’ll notice the way in which it’s employment in the case of these designs, is able to bring out a wide range of distinctive character within each of these 18 independent circuits. And utilizing it in the case of the 1953 setting is vital in accessing those incredibly specific bell like guitar tones indicative of the era.