The rights of springs

Computer Music - - Reviews -

In­vented by the Hammond Or­gan Com­pany in the late 1950s specif­i­cally to ac­com­pany their own in­stru­ments, the neck­lace re­verb was a lower-priced, smaller and much bet­ter sound­ing al­ter­na­tive to the oil­can spring re­verbs that came be­fore it.

Three springs of dif­fer­ing length were strung across the hor­i­zon­tal bar of a T-shaped frame, like a neck­lace, the short­est at the top, the long­est at the bot­tom. The sig­nal from the in­put trans­ducer caused the springs to os­cil­late in­de­pen­dently of each other, yield­ing a com­plex ‘mod­u­lated’ sound as the vi­bra­tion from each one ar­rived at the out­put trans­ducer on its own ‘time­line’.

Al­though it sounded fan­tas­tic, sadly the neck­lace re­verb wasn’t around for long. The ten­dency for those loosely hang­ing springs to make hor­ren­dous clat­ter­ing noises when shaken by ac­ci­den­tal con­tact or heavy on-stage vi­bra­tion saw it quickly su­per­sed by ten­sioned dual-spring mod­els.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.