Reblogged omcgowan
“Pavillon Wehrhafte Schweiz” (1964, Switzerland) ⬣ Raw concrete forms a crystalline shield
ROCCO - TONEXPRESSOR
"Epiphone Rocco Tone Expressor Pedal, 1942
Volume and tone control with the wiggle of your foot. Up and down for volume, side to side for tone. A common item in the arsenal of today’s players, a foot pedal of any nature was a real luxury in the late 1930s. At a price of over $400.00 in today’s money it was a pricey toy."
cred: flickr.com/photos/museumofmakingmusic/3352073094/in/photostream/
ROCCO - TONEXPRESSOR
"1950-60 Tonexpressor By, Anthony Rocco This foot pedal has many features, Pedal up and down for volume control and pedal left to right for tone. All original with shielded rubber insulated rubber brass tip cable. The first foot pedal for the time as far back as 1938 making flat steel guitars as well. Rocco went on with Epiphone and produced many musical products."
ROCCO - TONEXPRESSOR
THE FIRST GUITAR “PEDAL!”
"... this lovely art deco-styled volume and tone pedal, the 1937 Rocco Tonexpressor—the very first guitar “pedal.” The idea of the pedal came from the automobile’s accelerator, and the first known use of a volume pedal for musical use came with the early electric theater organs. However, it would take the ingenuity of an obscure steel guitarist named Anthony Rocco to take those ideas and apply them to the world of the electric guitar. Based on Rocco’s designs and inventions, Epiphone began manufacturing a whole line of Rocco devices in 1937, including a Rocco double-neck steel guitar, a Rocco signature steel bar, and the innovative Rocco Tonexpressor, a combination volume and tone pedal. Rocco held a patent on the Tonexpressor, which was a complicated device utilizing gears, transformers, and a series of relay switches—the damn thing looks like some kind of antique telephone switchboard when you open it up. The volume control (up and down) worked in a fairly normal way, with a potentiometer and a string, but the tone (side to side) produced three distinct tonal characteristics that can only be described as bass, treble, and super-treble, to make the familiar “doo-ahh” crashing sound effect that was popular among steel guitar players for several decades. Rocco’s inventions were ahead of their time, and as such sold poorly on initial release. Steel guitarist Jody Carver remembers Rocco playing around New York City for decades (where Carver got him to autograph this promo photo shown above), but then Rocco slipped into obscurity, a forgotten innovator in the world of electric guitar."
cred: Deke Dickerson's muleskinner.blogspot.com
Reblogged likitesplit
Jacopo de' Barbari, Ritratto di Fra Luca Pacioli con un allievo, (oil on panel), ca. 1445 / before 1516 [other attributions: Alvise Vivarini, Lorenzo Lotto, Leonardo da Vinci] [Catalogo generale dei Beni Culturali, Roma (CC-BY 4.0). Collezione Farnese, Museo di Capodimonte, Napoli]
Source: capodimonte.cultura.gov.it
AXE - Model NO. SP-1 - Silent Partner
headphone amp
Artists X-Ponent Engeneering
cred: facebook.com/Jacob Vitthuhn
Reblogged likitesplit
A GEORGE III ORRERY
JOHN JONES, CIRCA 1790
The 12½-inch instrument comprised of working geared mechanism carrying a 1½-inch globe made up of twelve hand-coloured engraved gores, graduated equatorial, ecliptic and one meridian, Tasmania as a peninsula in New Holland, with brass twilight pointer and held above an angled ring to alter the height of the ivory moonball, a secondary ring graduated with the sigils for the houses of the Zodiac, and a disc showing the phases of the moon, on a complex multi-wheeled geared mechanism, at the centre the brass sunball mounted on the central axis, with planet arms for ivory planet Mercury and Venus, and brass index pointer; detachable, ivory handled crank handle, replacement oil lamp for sunball, the printed paper horizon plate with overlain cartouche Sold by J. Jones No135 the corner of Bell & Crown Inn Holborn, London a different, probably earlier, issue to the 1794 commonly seen. Graduated around the red-painted edge with days of the month and of the houses of the Zodiac with names, sigils and pictures, compass directions and degrees of amplitude and azimuth, circle for EARTH'S ANNUAL ORBIT, inner circle a map of solar system's outer planets with paths of comets, the latest being 1789. Housed in original oak case.
Christie’s
Reblogged
rustfuzz
COLOURSOUND FUZZ NEAR MINT 1970’S
“MINT ? WELL ER…….. NOT QUITE . I LEFT IN IN MY SHED OVER 40 YEARS AGO . … . WELL JUST AS WELL I DID NOT LEAVE THE BATTERY IN . JUST IMMAGE THE DAMAGE THAT WOULD HAVE CAUSED . WELL I WILL LOOK FO A BATTERY AND GUITAR AND TRY IT OUT . “
cred: ebay.com/bluesfm
mystery boxes
"I bought these at an auction this week. Haven't received them yet, but curious what this group might know about these. The only potential brand I see is "Kogut" - the amp and the fuzz box both have this on them (more clearly on the fuzz box). The gear came from an auction in Inverness, FL. Not sure where the gear itself was located, but I would assume somewhere near there."
cred: facebook.com/Jonathan William Cutrel
Reblogged leopardette
The Torre Abbey Jewel, a memento mori pendant depicting a skeleton in a coffin, England, circa 1540-1550
from The Victoria & Albert Museum
Source: collections.vam.ac.uk
Reblogged
REHARD - Six-o-Tone Sound and Effects Variator
Any ideas about this mystery box?
“fuzz ITALIANO anni ‘60 con selettore a pulsantiera. Ogni pulsante genera un fuzz diverso, si va dal suono ricco e grosso allo stridulo e sgranato tipo “radiolina”,anche un gradevolissimo overdrive, i controlli rotativi permettono di incrementare volume o “PEP” alias gain. La caratteristica più eccezionale di questo pedalone è che premendo a scelta in contemporanea due pulsanti si sommano i due suoni corrispondenti. Lo strumento è completamente originale e totalmente funzionante corredato dal suo pedale di innesco remoto con cavo lungo un paio di metri e jack di uscita integrato funziona con batteria 9 volt da inserire nel relativo vano posteriore. “
cred: mercatinomusicale.it/SOYUZ-SET
Schaller - collection
"For the SCHALLER enthusiasts ... how to differ models
Beside the facts that the early versions had:
•2 screws on top ( first generation),second generation have 1 screw
•both controls to the far right (first generation ), second generation with 1 screw on top have the controls more towards the center, same as the last versions with silicons in the 70s.
•different jack sockets ( last pic shows the very early to the left vs. the last germanium version with 1 top screw but already in a plastic enclosure to the right)
•screw size on the first generation pedals is way smaller; the feet are different as well ( last 2 pics showing the 1st generation to the left vs. the last germanium version to the right)
•very early ones had AC151 germanium transistors while the later ones used Ates AC192 germanium transistors
•version 3 before they swapped to silicon transistors (probably late 69/early 1970) still has one top mount screw but already a PLASTIC enclosure but still the „Marshall-type“ control knobs.
•the „SCHALLER“ engraving changed over the years as well; the very early ones like in pic #2 are big and deep while the letters went smaller till the last versions in a plastic enclosure with silicon transistors, no top-mounted screw and silver metal knobs. Swipe left for the „history“ of the Schaller logo.
•there’re a handful super early ones with the inside NOT painted.
These infos are based on what I’m looking at overbite years collecting these pedals. I didn’t wanted to go deeper as most of the folks who have one at home or wanna buy one aren’t into „science" too much"
cred: facebook.com/Isle of Tone