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StephengilesMemberQuote:one thing i’d hate to happen is the polychorus moving out of the sexy big box into a diecast bag. it really, really wouldn’t suit it.
big enclosures ftw!What difference does it make?
StephengilesMemberQuote:cooltoo bad we can’t find a video of that anywhere
I’m sure the old one was analog and monophonic though, right?Yes, but it tracked very well. I’ve always thought the Adaptive Filter circuit within the Fundamental Extractor would make a great tshirt pattern. It was also used in the deluxe Octave Multiplexer.
StephengilesMemberFunnily enough, the 9v version was based more on the Deluxe Electic Mistress circuit, using the LM324/LM311 LFO/clock.
StephengilesMemberAn idea for a guitar tracking oscillator was certainly worked on at EH UK. I saw and heard a prototype a number of times. It was in fact part of the main guitar synthesiser, using one VCO fixed at one octave above the guitar note, with a second VCO which could be set at any interval from the guitar note. There was also a transister VCF – possibly similar to that of the Crashpad.
What else? Ah yes, John Williams who later took over from Joe Truchess designed a sample & hold board for the Rack Guitar Synth. He gave me a prototype which I sold in the 1990s for a lot of money!
StephengilesMemberWasn’t there an 8 stage version of the Small Stone in the pipeline around 1980?
StephengilesMemberI prefer the sound of the old Rackmount Guitar Synthesiser. I tried the first one in England back at EH UK, when Joe Truchess was electronics engineer there. I worked for the UK accountants of EH. It contained one of the best fundamental extractors ever designed.
I remember also hearing the Space Drum being designed – very strange noises for the time, but a very clever circuit!
StephengilesMemberQuote:FWIW, the number of stages actually isn’t that important. It’s my understanding that it’s largely arbitrary unless you’re looking within the same brand, and even then, it’s not a perfect guide. It does mean something, but the value and shift of each stage will vary from one circuit design to another.Even phasers with the same number of stages won’t sound alike in terms of depth. My favorite comparison: the MXR Phase 90 versus the EHX Small Stone. Both are 4-stage phasers. But the Small Stone offers some control over feedback (via the Color switch), and that’s why it can get so much deeper. :thumb:
I’ve known bassists who have used 10 and 12 stage phasers that didn’t sound as deep as the Small Stone, to their ears. However, those other phasers do offer a very different character to their sound, although it doesn’t have much to do with the number of stages.
There was a mod to make the Color (Uggggh – USAian spelling!!) variable in Craig Anderton’s Device magazine back in the 1980s. Mark Hammer has scans of these on his site.
Somewhere in here http://hammer.ampage.org/?cmd=lt&xid;=&fid;=&ex;=&pg=10
See page 5 in DEVICE 11
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