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Replicating the sonic characteristics, and idiosyncrasies of late 50’s/early 1960’s cinema, all the way through to the British Invasion; “The Three” offers a trio of meticulously voiced circuits, working together to provide you with a sonic color palette designed to faithfully reproduce the distinctive sounds of that transitional era in the history of recorded music. Whether you’re a fan of Bernard Hermann in his collaborations with Alfred Hitchcock, or the likes of Sam Cooke, Booker T. & the MG’s, or the Liverpudlian Quartet who’s titanic influence pervades the walls of popular music to this day... this one is for you. Designed and hand wired by Guitarist/Engineer Reeve Carney, right here in the USA.
“The Three”
1959 1/2 - Here’s where things get interesting... Between the dawn of recorded music and the 1980’s, various technologies employed in the record industry were advancing with exponential propulsion. As a result of that, as crazy as it may sound, to me there are quite drastic differences in the sonic characters of the output of music from say 1959 to the character of music released only 1 year later. Which brings us to 1959 1/2... This particular setting targets sonic footprints of American cinema of the era, ala Hitchcock’s Psycho, as well as the likes of Wes Montgomery’s tone on records like Smokin’ At The Half Note.
1962 - For me, this is Booker T. And The MG’s all day. Think Green Onions, etc... A nod to Steve Cropper and his contemporaries of the period. Makes for a fantastic Blues rhythm guitar tone, possibly more so than any other circuit in the series.
1964 - You guessed it! Or did you?... This is Meet The Beatles all days for me. But can move into Revolver Territory depending upon how you utilize the High Pass filter. For me this circuit is the sound of an early 60’s Vox AC-30 (or 15, or even 10!). But it imbues that classic Vox Top Boost sparkle to whatever flows through it. The Lonnie Mack WHAM! era comes to mind as well with this particular circuit.
