Tone Spotlight: The Hall of Fame

As we continue to make progress capturing unique and desirable tones throughout the recorded history of the guitar, let’s take stock for a moment. In the stompbox bible, Analog Man’s Guide to Vintage Effects, turn to chapter nine for a look at Analog Mike’s Hall of Fame. We thought we’d call out each effect here and provide a quick status on what’s available in AmpStamp. Though we’re nowhere near finished, we think we’ve covered quite a few classic stompboxes. If you’d like to help prioritize what we tackle next, let us know in the comments!


Uni-Vibe

Artists: Jimi Hendrix, Robin Trower, Harvey Mandel

Debut: 1968

History: Designed by Fumio Mieda, originally part of the Psychedelic Machine distributed by Honey in Japan and first sold as the Vibra-Chorus. Inspired by filtering effects heard from short wave radio interference.

AmpStamp: PH100 Phaser


Fuzz Face

Artists: Jimi Hendrix, David Gilmour, Eric Johnson, Stevie Ray Vaughn

Debut: 1966

History: Physical enclosure designed by Ivor Arbiter, influenced by the base of a microphone stand. The circuit may have also been based on Ivor’s suggestion to use a Schmidt Trigger to increase distortion.

AmpStamp: FZ102 Fuzz


TS-808 Tube Screamer

Artists: Stevie Ray Vaughn, Kirk Hammett

Debut: 1979

History: Designed by S. Tamura for Maxon in Japan. This was an evolution of the Overdrive pedal intended to capture the dynamics of tube distortion.


Cry Baby

Artists: Jimi Hendrix, Eric Clapton, and everyone else

Debut: 1968

History: Designed by Brad Plunkett with Del Casher, originally sold via partnership between Vox/JMI and Thomas Organ, debuting as the Clyde McCoy. Later renamed model V846 under Vox, and Cry Baby under Thomas Organ.

AmpStamp: WH100 Wah


Big Muff

Artists: Carlos Santana, Ernie Isley, David Gilmour, J. Mascis, Billy Corgan

Debut: 1970

History: Designed by Bob Meyer with Mike Matthews, based off of the Guild Foxey Lady. They iterated on the Axis Fuzz, then Muff Fuzz, finally landing on the four-transistor design with the Big Muff.

AmpStamp: FZ104A Fuzz


Phase 90 / Small Stone

Artists: Eddie Van Halen

Debut: 1974

History: The former was inspired by the Maestro Phase Shifter, the latter by the EMS Synthi Hi-Fli. Designed by Keith Barr and David Cockerell, respectively. Though each features a different topology, both effects sweep dual notches in the frequency spectrum creating their signature whooshing sound.


Mu-Tron III

Artists: Stevie Wonder, Bootsy Collins, Jerry Garcia, Flea

Debut: 1972

History: Designed by Mike Beigel originally for a synthesizer by Guild. When the deal fell through a new company and product was born.


Boss CE-1

Artists: Herbie Hancock, Andy Summers, John Frusciante

Debut: 1976

History: The first chorus effect in pedal form, and the first effect for Boss. Also incorporated into the JC-120 amplifier produced by Roland. This was the first effect to feature stereo outputs.


A/DA Flanger

Artists: ?

Debut: 1977

History: Designed by David Tarnowski, this is the flanger. With a wider range than its competitors, gating threshold, built-in compressor, and tuned feedback, it has a sound all to its own. Additionally, the effect featured an external control pedal that could be used to sweep the flanger.


Dallas Rangemaster

Artists: Eric Clapton, Tony Iommi, Brian May, Ritchie Blackmore, Rory Gallagher

Debut: 1965

History: A product of Dallas Music Ltd., production was short lived as the company eventually merged with Arbiter, forming Dallas-Arbiter of Fuzz Face fame.

AmpStamp: EQ100 Treble Boost


Ross Compressor

Artists: ?

Debut: 1977

History: Not just a clone of the MXR Dynacomp, this pedal was actually an improvement, maintaining the same qualities as the original script-logo MXR version while also providing a warmer sound and better stability.


Orange Squeezer

Artists: Jay Graydon, Jeff “Skunk” Baxter, Mark Knopfler

Debut: ?

History: Designed by Dan Armstrong, this effect came in a small box meant to be plugged directly into the guitar’s output jack. Despite its hard to use form factor this effect became a must-have for LA session musicians during the 70’s.


This is quite a list! But remember, as important as it is to have inspiring effects, you’ll also need an inspiring amp. Make sure to check out our Gear Shop to see everything that AmpStamp currently has to offer. And don’t forget to leave a comment if there’s something you’d like to see next!

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