Presentación y formulación del caso : - GUÍA DE ANÁLISIS DOCUMENTAL

GUÍA DE ANÁLISIS DOCUMENTAL

I. Presentación y formulación del caso :

Even China has started manufacturing guitar effects pedals—we’ve conquered the world now! Shenzhen Mooer Audio Co., Ltd., is the home for electronic musical instruments and audio equipment, ranging from synthesizers, sound and audio processors, digital audio effects, and wavetable synthesizer technology to digital audio effects technology. As they say, “We listen to technology and have constant technological innovation and pursuit of

excellence.” They manufacture a host of pedals, from flangers to overdrive to phasers.

Figure 5.67 Mooer Blues Crab: No high gain here; just lovely, easy overdrive for singing the blues!

Figure 5.68 The Mooer Reecho: Get warm classic analog delay in a small package.

Figure 5.69 The Mooer Rage Machine: Micro size packs a huge fuzz punch.

Figure 5.70 The Mooer Acoustikar: Finally, a pedal for acoustic guitar shredders! Choose from three settings—Piezo, Standard, and Jumbo.

Figure 5.71 The Mooer ShimVerb: This small pedal gives you a choice of three reverb modes: Room, Spring, and Shimmer.

Moog

Bob Moog is a pioneer in effects, having designed the wedge-shaped Maestro Phaser and the Fuzztain effects back in the 1970s. The Moogerfooger effects were released in 1998 to bridge the gap between stomp boxes, studio-quality analog effects, and modular synths.

Trent Thompson, marketing manager at Moog, explains, “The Minifoogers sprang out of requests from our guitar and bass customers who love Moogerfoogers but wanted smaller and simpler devices. The Moog design team has some great guitar players and effects nuts on board, so Minifoogers were designed with the electric guitarist and bassist in mind—

they are rugged, quiet, great-sounding, and versatile, without hogging too much space on a pedal board. They also each feature an expression jack that expands each pedal’s

performance and sonic capabilities significantly.”

In designing the MF-102 Ring Modulator, Trent said, “We looked at a lot of ring-mod designs out there and ended up choosing our own MF-102 as the basis for the design, because it is well loved by those who use it. On the other Minifoogers, we listened to other products for comparison but went with our own vision in terms of design, voicing, and features. And as far as their view on the debate between analog and digital, we share Bob Moog’s view that analog and digital circuits are both valid tools—and it’s good to pick the right tool for the job. Digital technology is not necessarily tonally inferior, but it is a

different tool than analog technology. It sounds and feels different, and that is okay. On a pedal board, we prefer the sound and feel of our analog circuits because of their unique characteristics. Ultimately, it’s a musician’s quest for their personal sound and rig that determines what they use to make music.”

Figure 5.72 The Moogerfooger 12-Stage Phaser: If you can’t find the phase you like here, then it doesn’t exist.

Figure 5.73 The Minifooger MF Ring gives you everything from octaves to choral dissonance.

Morley

Bill Wenzloff, Morley’s sales and marketing manager, has worked at Morley Pedals since 1989, when Accutronics (a reverb and printed circuit board manufacturer) acquired

Morley from Marv and Ray Lubow. “I was the factory production manager at the time but started helping out in engineering with the development of many pedals, including the Steve Vai Bad Horsie wah and the Mark Tremonti wah. I have played guitar since I was nine and played in many bands over the course of my life. Mostly cover bands and a few tribute bands playing in bars, clubs, and festivals around the Chicago area. Being a

working musician gave me hands-on experience with effect pedals as well as the real-world application of using them. It also allowed me to test new pedal ideas at gigs to make sure they were musical, useful, and well built.”

Through the years things have changed, inevitably driven by technology. “Many things have changed from the early days of Morley pedals [in the ’70s] until now. The use of power adapter/battery option versus putting a transformer in the pedal was one huge change. Obviously, the materials used—circuit boards, components, IC chips, jacks, and switches—have all improved over the years. Our electro-optical circuitry is still very similar but done in a more efficient manner than how it was way back when. Technology changes, music and equipment tastes go through cycles, but one thing never changes—

musicians want great-sounding gear with usable features that are well built. Those simple requirements are always and will remain at the top of our engineering list of priorities.”

Figure 5.74 The Morley Steve Vai Little Alligator volume pedal: You don’t need a volume knob to switch between rhythm and lead.

“When we design any new pedal, we always have a musical tone we are going for. The Morley Man FX Distortion Boost is one such example. We were thinking along the lines

of a great-sounding overdriven tube amp, kind of like the ol’ Les-Paul-through-a-Marshall sound. The kind of tone where you hit an open E chord and it makes you smile. The boost feature was added out of necessity; all guitarists know the feeling of wanting that extra boost for solos. You can just kick it in with a footswitch instead of having to reach for the amp’s volume knob. It is the same for wah pedals; we all know the wah tones achieved by Hendrix and Clapton with the wahs of that era. Other wahs were designed to achieve those tones but add features to expand its tonal palette. Other features were designed to solve certain issues that those wah designs had, like optical circuitry rather than a pot, switchless design versus having to click a switch, alternate wah designs that did not require an

inductor to avoid the noise sometimes associated with inductors. Each new pedal is born from a specific need or a suggestion made. If we believe there is value in such comments, a new pedal will result.”

When Bill was asked about the analog versus digital question, he was prompted to say,

“It’s funny that there are debates like analog versus digital or tube versus transistor. Digital and analog both have their place, but we should understand that analog effects give you a certain tone, and digital effects give you a certain tone. Not that one is necessarily better than the other; they are just different. Earlier I mentioned about having guitar heroes that we look to for inspiration; since most of them used analog devices, those are the tones we are used to hearing all these years. Recently, however, more and more music has been created with digital effects or recorded digitally, so there is a generation today that has been hearing digital their entire life. I guess the important thing is to use the equipment that is right for the music. The song is the important thing. While digital opens up the door for very precise tweaking and offers an abundance of features, we still prefer analog tones for pedals. Who’s to say what the future will bring, but we will always gravitate to the type of designs that sound best to our customers and us.”

For the future, Morley will be introducing more artist-series pedals. “Again, most

musicians are inspired by another musician and want to achieve tones produced by those musicians. This always paves the way for signature pedals, which we like doing as long as we’re bringing something new to the table. At any given time, we probably have a dozen or so things we are working on. Most never see the light of day for a list of reasons, so it would be hard to reveal anything we are working on. Just know that it continues to be our goal to create great tools for musicians to create great music with.”

Pigtronix

Dave Koltai, founder of Pigtronix, was introduced to pedal building in 2001 via Craig Anderton’s Electronic Projects for Musicians book. “My first builds were his optical compressor and envelope-controlled phase shifter. After that, I built clones of most classic pedal effects using various Internet resources. In 2004, we launched Pigtronix at Summer NAMM, and I’ve been designing original products ever since then. Pigtronix pedals have won awards from every major guitar magazine and have been used on stage and in the studio by many of my musical heroes. I call it living the dream. I was playing

professionally in NYC and working in the record industry in the early 2000s as that industry was collapsing. I wanted an intriguing gig in music without having to go on the road full time. I have always loved gear, particularly effects. Once I started building,

modifying, and eventually designing effects, it was quite clear that this was my calling.”

“When we started in 2004, there were two prevalent trends in pedals—guys like Fulltone and Analog Man building high-quality reproductions of the classics, and companies like BOSS and Line 6, who were pioneering digital modeling of classic sounds. I saw an opportunity for my company to fill an open niche of forward-thinking analog designs. It was this mindset of ‘Futuristic Analog Technology’ that set us apart from the start and has served us very well. Z.Vex was doing something different, yet still analog, at that time, but the chaotic ethos of his pedals did not appeal to me as a working player. Our pedals make some otherworldly sounds, but they maintain dynamic range, low noise performance, and touch sensitivity that makes them usable across a wide range of musical applications.”

Figure 5.75 Pigtronix Echolution: a hybrid of analog and digital technology, up to 12-seconds delay.

“Another major advantage we have enjoyed is employing the legendary analog designer Howard Davis as our chief engineer. Howard designed the EHX Deluxe Memory Man [and many others], as well as all of our analog stuff that followed the debut Envelope Phaser. The first design that Howard and I collaborated on was the Pigtronix Disnortion, which is still in production today [nine years later] and in use by famous players like Tony Levin, Brad Whitford and Joe Perry of Aerosmith, Adrian Belew, and many others.”

Figure 5.76 The Pigtronix Mothership guitar analog synthesizer, featuring VCO, sub-octave, and intelligent ring modulator.

I wanted to see if any of the classic pedals influenced Dave’s new creations, and he said,

“As a rule, I try to stay away from that completely. Admittedly, the Pigtronix EP-1 Envelope Phaser was heavily influenced by Craig Anderton’s ’70s DIY design but was made to sound more like the bastard child of a Uni-Vibe and a Mu-tron III. Once we got our company up and running with Howard on board, we redesigned the Envelope Phaser [EP2] with completely original circuitry to achieve a more unique sound. That version is still in production today, with thousands of units sold worldwide.”

“Each Pigtronix pedal has many classic sounds in it, but everything we make has a reason to exist, in that it does something that no other pedal can do. This is often realized through parallel audio processing, envelope control of one or more parameters, or other unique ideas, like using the Golden Ratio to make polyrhythmic multi-tap delay patterns. One example of Pigtronix re-creating an obscure classic sound is when Dweezil Zappa asked me to achieve the envelope-controlled flanging from Frank Zappa’s Shut Up ’n Play Yer Guitar album. This two-year quest resulted in the Quantum Time Modulator pedal, which nails that elusive ‘Dyna Flanger’ Zappa sound but also can do the Dimension C and TC 1210 double chorus sounds as well as vibrato and some all-new, bizarre variations by combining LFO and envelope modulation in parallel.”

Figure 5.77 The Pigtronix Infinity Looper features instantaneous record, playback, dub, undo, and redo.

In 2014, Dave changed the Pigtronix motto from “Futuristic Analog Technology” to

“Futuristic Audio Technology” to reflect the shift in his design focus toward hybrid

designs that combine programmable DSP with his unique analog approach. “The Pigtronix flagship Infinity Looper and Echolution 2 pedals are the most advanced of their kind and would not be possible without extensive digital engineering. The fact remains that analog, when done properly, sounds smooth, buttery, and fantastic. My approach is to let analog do what it does well [make things sound good] and let digital do what it does well [MIDI, tap tempo, programmability]. Rather than digitally model an analog sound, I use real analog filters, discrete limiters, and nonlinear tape emulation to warm up the digital processing that we do end up using where needed.”

Figure 5.78 The Pigtronix Disnortion features parallel fuzz and overdrive circuit, and gain sky high!

Figure 5.79 The Pigtronix Philosopher King: It’s a compressor, sustainer, distortion, and polyphonic amplitude synthesizer. OMG!

Figure 5.80 The Pigtronix Tremvelope features high-fidelity optical tremolo with stereo panning outputs.

In document FACULTAD DE DERECHO ESCUELA PROFESIONAL DE DERECHO (página 107-123)