EHX: The most pedals - and most charismatic leader - in the business?


Mike Matthews has to be the once and forever perpetual founding father and reigning patron saint of effects.

Other manufacturers, arguably starting with sentimental favorite DeArmond, got there first - but Mike got there pretty early, created a few early iconic designs (not to mention types), and persevered through thick and thin for decades. Since 1968 - that's 52 YEARS - there has never not been an Electro-Harmonix.

(Actually, I'm unclear about a few years between the mid-80s when manufacturing in NYC ceased, and the early 90s when the Russian ventures started. But since I'm pretty sure MM never stopped trying to get the train back on the rails, I'm pretending it's a continuous history - same as I do for Gretsch, which had a few technically fallow years till Fred's rebuilding efforts broke the surface.)

And no one has blended a durable far-out hippie sensibility with moxie, sales hustle, business acumen, and never-say-die resilience and determination like that beloved white-haired, bearded, cigar-chompin', Russian-collaboratin', Chinese-suin' SOB. I know Mike doesn't design all - if any - of the pedals, and maybe never did. Doesn't matter: his attitude and spirit permeate, and have always permeated everything EHX does. There's "corporate culture," and then there's having the patriarch always at the helm, still crazy after all these years, one of the youngest old men in any business.

His has to have been the restless imagination, the wacked-out vision, and the try-anything attitude you get, in some measure, in every product EHX makes. The pedals may not always be successful (a ridiculous number of them are), you may not even be a fan - but they're never generic, and you always get a couple grinny quirks few other builders have so reliably incorporated.

And yet, always that duality: the far-out hippie wack coupled with the practical and pragmatic. Lots of companies make pedals that are only weird, and way too many make generics. EHX reliably comes through with pedals that marry both properties.

I know Matthews is an amalgam of starry-eyed vision with the ceaselessly promotional energy of the snake-oil medicine-show huckster, all strung together with pure NYC grit. I kinda love him for that. And I'm grateful for the contributions he has made to the world of guitar-playing, to music, and to my own life through those domains. My auditory adventures would have been much less colorful without him, his products, and his influence on the industry.

I know he seems immortal, but one day he'll take the psychedelic microbus to that Great Gig in the Sky, and I will mourn him.

I'm thinking about EHX today because yesterday they introduced the Oceans 12 stereo dual do-all reverb, to ship in March (and, yes, I've pre-ordered). In trawling the EHX site (a sprawling, dense disaster zone), I also stumbled (or re-stumbled) onto the BASS9, which purports to emulate the tone and articulation of various bass instruments from P-bass to synth bass - from the strings of your guitar - just as well as the other 9 series pedals do keyboards.

I might have ignored it but for a linked review from a bass player who wanted to hate it, and to find that it Just Wouldn't Do - and instead found it pretty much does do just what it says.

So ... good ol' EHX.

In looking around the site, I was daunted (as usual) by the plain ol' breadth and depth of the company's offerings. But nowhere could I find a summary: we make x many dirt pedals, x reverbs, etc. So I copied the entire product list to a spreadsheet and massaged it for long enough that I again asked myself if I don't have anything better to do with my life.

But I did get some results.

Because I'm pedal-centric, I'm not counting EHX's tubes, speakers, speaker cabs, amp heads, rack-mount effects (there are a few), or a few odd and sundry other odd sundries. Just pedals.

As of today, there seems to be 153 pedals in the pedal line, including:
• 3 power amps in pedal form
• 9 dedicated delays (some combining modulation and/or looping, two do-all multis)
• 5 dynamics pedals (compression & envelope)
• 6 emulators (the "9" series)
• 12 filters (including wahs)
• 24 fuzz/distortion boxes (17 variations on the Big Muff!)
• 5 loopers (and 2 extension foot controllers)
• 19 modulators (phase, flange, chorus, vibe, rotating speaker, and multis)
• 5 multi-fx combining 2-3 other pedals
• 12 overdrives
• 4 preamps
• 7 reverbs (including a couple multi do-alls)
• 2 ring mods
• 22 synth pedals (including pitch/harmony, freeze/hold, vocoder, percussion, and a sitarisizer
• 16 utility pedals (expression, switching, mixing, volume control, noise supression).

I have no idea what the sales volume might be, either in units or dollars, but I have to think only Boss might be in competition for King of the Pedaleers.

Can any other effect maker boast a longer history or a more expansive line-up?


Thanks for compiling all that. I’m an EHX fan.


Well, lest my cataloging efforts go to waste...

44 Magnum - Power Amp
5MM - Guitar Power Amplifier
Dirt Road Special - 40W Amplifier

Canyon - Delay & Looper
Deluxe Memory Boy - Analog delay with tap tempo
Deluxe Memory Man - Analog Delay/Chorus/Vibrato
Deluxe Memory Man 1100-TT - Delay
Deluxe Memory Man 550-TT - Analog Delay
Grand Canyon - Multi-Delay & Looper
Memory Boy - Analog Delay with Chorus/Vibrato
Memory Toy - Analog Delay With Modulation
Stereo Memory Man with Hazarai - Digital Delay/Looper

Attack Decay - Tape Reverse Simulator
Bass Preacher - Compressor/Sustainer
Platform - Stereo Compressor/Limiter
Soul Preacher - Compressor/Sustainer
Tone Corset - Analog Compressor

B9 - Organ Machine
BASS9 - Bass Machine
C9 - Organ Machine
KEY9 - Electric Piano Machine
MEL9 - Tape Replay Machine
SYNTH9 - Synthesizer Machine

Bassballs - Twin Dynamic Envelope Filter
Blurst - Modulated Filter
Cock Fight - Cocked Talking Wah
Cock Fight Plus - Talking Wah & Fuzz
Doctor Q - Envelope Filter
Enigma - Envelope Filter for Bass
Knockout - Attack Equalizer Reissue
Micro Q-Tron - Envelope Filter
Q-Tron Plus - Envelope Filter with Effects Loop
Riddle - Envelope Filter for Guitar
Stereo Talking Machine - Vocal Formant Filter
Wailer Wah - Wah Pedal

Bass Big Muff Pi - Distortion/Sustainer
Big Muff Pi - Distortion/Sustainer
Big Muff Pi with Tone Wicker - Distortion/Sustainer
Deluxe Bass Big Muff Pi - Distortion/Sustainer
Deluxe Big Muff Pi - The icon reimagined
Double Muff - Fuzz/Overdrive
Flatiron Fuzz - Fuzz/Distortion
Germanium 4 Big Muff Pi - Distortion/ Overdrive
Graphic Fuzz - EQ/Distortion/Sustainer
Green Russian Big Muff - Distortion/Sustainer
Little Big Muff Pi - Distortion/Sustainer
Metal Muff - Distortion with Top Boost
Muff Overdrive - Muff Fuzz Reissue
Nano Bass Big Muff Pi - Distortion/Sustainer for bass
Nano Battalion - Bass Preamp & Overdrive
Nano Big Muff Pi - Distortion/Fuzz/Overdrive
Octavix - Octave Fuzz
Op-Amp Big Muff Pi - Distortion/Sustainer
Pocket Metal Muff - Distortion with Mid Scoop
Ram's Head Big Muff Pi - Distortion/Sustainer
Satisfaction - Fuzz
Sovtek Deluxe Big Muff Pi - Distortion/Sustainer
Triangle Big Muff Pi - Distortion/Sustainer

22500 Looper - Dual Stereo Looper
22500 Foot Controller - Controller for 22500
45000 Looper - Multi-Track Looping Recorder
45000 Foot Controller - Controller for 45000
720 Stereo Looper - Recording Looper
Looper 95000 - Performance Loop Laboratory
Nano Looper 360 - Looper

Bad Stone - Phase Shifter
Bass Clone - Bass Chorus
Deluxe Electric Mistress XO - Analog Flanger
Good Vibes - Analog Modulator
Lester G - Deluxe Rotary Speaker
Lester K - Stereo Rotary Speaker
MOD 11 - Modulator Multi
Mod Rex - Polyrhythmic Multi Modulator
Nano Clone - Analog Chorus
Neo Clone - Analog Chorus
Neo Mistress - Flanger
Small Clone - Analog Chorus
Small Stone (Nano Chassis) - Analog Phase Shifter
Stereo Clone Theory - Analog Chorus/Vibrato
Stereo Electric Mistress - Flanger/Chorus
Stereo Polychorus - Analog Chorus/Flanger/Slapback Echo
Stereo Pulsar - Variable Shape Analog Tremolo
Super Pulsar - Stereo Tap Tremolo
Worm - Analog Wah/Phaser/Vibrato/Tremolo

Epitome - POG/FlangerReverb Multi-Effect
Holy Stain - Distortion/Reverb/Pitch/Tremolo Multi-Effect
Soul POG - Multi Effect: Nano POG + Soul Food
Tone Tattoo - Metal Muff, Chorus, Delay
Turnip Greens - Soul Food/Grail Reverb Multi-effect

Bass Blogger - Distortion/Overdrive
Bass Soul Food - Overdrive
Crayon - Full-Range Overdrive
East River Drive - Overdrive
EHX Tortion - JFET Overdrive
Germanium OD - Overdrive
Hot Tubes nano - Overdrive
Hot Wax - Dual Overdrive
Lumberjack - Log Overdriver
Nano Operation Overlord - Allied Overdrive
OD Glove - MOSFET Overdrive/distortion
Operation Overlord - Allied Overdrive
Soul Food - Distortion/Overdrive

Analogizer - Preamps, EQs and Tone Shaping
Battalion - Bass Preamp & DI
LPB-1 - Linear Power Booster Preamp
Screaming Bird - Treble Booster

Cathedral - Stereo Reverb
Holy Grail - Reverb
Holy Grail Max - Reverb
Holy Grail Neo - Reverb
Holy Grail Plus - Variable Reverb
Oceans 11 - Reverb Multi
Oceans 12 - Dual Stereo Multi Reverb

Frequency Analyzer - Ring Modulator
Ring Thing - Single Sideband Modulator

8 Step Program - Analog Expression/CV Sequencer
8 Step Program Foot Controller - Remote Preset Controller
Bass Micro Synthesizer - Analog Microsynth
Bass Mono Synth - Bass Synthesizer
Clockworks - Rhythm Generator/Synthesizer
Crash Pad - Electronic Crash Drum
Freeze - Sound Retainer
HOG2 - Harmonic Octave Generator
HOG2 Foot Controller - Controller for HOG 2
Iron Lung - Vocoder
Micro POG - Polyphonic Octave Generator
Micro Synthesizer - Analog Guitar Microsynth
Mono Synth - Guitar Synthesizer
Nano POG - Polyphonic Octave Generator
Octave Multiplexer - Analog Sub-Octave Generator
Pitch Fork - Polyphonic Pitch Shifter
POG2 - Polyphonic Octave Generator
Ravish Sitar - Sitar synthesizer
Slammi Plus - Pitch Shifter / Harmony Pedal
Super Space Drum - Analog Drum Synthesizer
Superego - Synth Engine
Superego+ - Synth Engine / Multi Effect
V256 - Vocoder
Voice Box - Vocal Harmony Machine/Vocoder

Chillswitch - Momentary Line Selector
Dual Expression Pedal - Performance Series, Dual Output
EHX-2020 Tuner Pedal - Chromatic Tuner Pedal
Expression Pedal - Performance Series, Single Output
Hum Debugger - Hum Eliminator
S8 Multi-Output Power Supply - Power Supply
Signal Pad - Passive Attenuator
Silencer - Noise Gate/Effects Loop
Super Switcher - Programmable Effects Hub
Switchblade Plus - Channel Selector
Switchblade Pro - Deluxe Switcher
Tri Parallel Mixer - Effects Loop Mixer/Switcher
Triple Foot Controller - Remote Footswitch
Volume Pedal - Performance Series


mehhh... I have a vintage Muff, a vintage Memory Man plus an Oceans 11. What da fulk doo I need stereo fer?


I actually just received my first EHX pedal today (well I've had a couple Sovtek muffs before, but I always preferred my own clones).

Anyways, it's a 1980s Small Stone that required some peremptory repair work, but the price was right. Loving it so far, it's also my first phaser.


One of the coolest, wildest pedals I've ever owned was the EHX "Tube Zipper". That beast was off the hook! Overdrive/fuzz with an envelope filter. It would go into these crazy oscillations that were from another world. I may need to find another one.


I remember I had a Memory Man Deluxe and a Golden Throat because, well, Peter Frampton and David Gilmour.

Both cool pedals. And, boy, did that Golden Throat annoy my dad to no end! My friends would come over...keep in mind we're all 13 year old goofballs...and they'd tell me funny things to say through it. It was the only time my Kustom Lead III sounded anything close to good.


That's a highly useful catalog, considering the haphazardry of their website.

This begs the question - do you have all of them yet?


And yet they are one manufacturer I have yet to buy from. Just as when I was a kid I bought many Matchbox cars but never any Hotwheels. I bought lots of Tamiya and Airfix but never Revell. And now as a power tool user I buy Makita and Bosch but not Milwaukee or Dewalt. There is an aesthetic about some US brands which puts me off - and I suspect a lot of folks who are not from the US. I can't put my finger on what it is - I'll have to think about it - but there definitely is something about some brands from the US which seems unreliable to me. I remember seeing ads for Jeep in US magazines in the 80s and thinking I would never buy one of those. And I still wouldn't - US cars have a terrible reputation outside of the US!

One day I will buy a proper Memory Man. Maybe.


I actually just received my first EHX pedal today...a 1980s Small Stone that required some peremptory repair work, but the price was right. Loving it so far, it's also my first phaser.

As Spock would say, fascinating.

Once upon a time, at least from my perspective, "Electro-Harmonix" practically meant "pedal." In my very earliest days of pedaling - 1969 or so - there was no MXR, no Ross, no Boss, no one making anything like a full "line" of pedals. The manufacturer and the pedal name went together to identify that maker's singular contribution to noise. Maestro Fuzz Tone, Arbiter Fuzz Face, Univox Uni-Vibe, just-plain Octavia and Wah-Wah. And in my circle of opportunity, I never saw or plugged into most of those, making do with a Lafayette Fuzz Sound (though a buddy had a wah-wah).

At first, at least to me, EHX was Big Muff Pi (though the company's first product was the Linear Power Booster). But it was followed by other devices which gave EHX a "full line," and both their marketing and distribution were stronger than competitors'. Pricing was also attractive. MXR was also an early contender with something like a full line (having come to notice with the Phase 90).

So for years - until Boss came to the fore in the late 70s/early 80s - the pedals with both the most advertising presence, and the retail representation that went along with it, were EHX and MXR. Some stores carried only one line; some carried both. For the most part, if you wanted a pedal, they were your choices. Between the two, MXR developed a better reputation for build and quality; EHX remained more innovative and wackier.

So it's interesting from my perspective to contemplate anyone (who's played for awhile) just now getting their first EHX pedal - though of course in the age of instant and convenient availability of literally thousands of pedals from hundreds of pedal builders, there's nothing odd in the situation at all. I can easily imagine that, because the company has been around so long and had such a checkered reputation, Electro-Harmonix might seem quaintly old-school to many players.

Equally curious to contemplate someone getting their first phaser! And again, I realize that's just the personal reaction of one who burned out on phasers by 1980. Next to the sedate and well-behaved Phase 90, the Small Stone is certainly a colorful place to start. (But not the quietest.)

One of the coolest, wildest pedals I've ever owned was the EHX "Tube Zipper". That beast was off the hook! Overdrive/fuzz with an envelope filter. It would go into these crazy oscillations that were from another world.

Well, EHX always bakes in some extreme spices. I haven't had a Zipper (though I've always enjoyed the Rube Goldberg kitschy overkill aesthetics of the EHX pedals with the rolled-up perforated tube protector). Back when they were introduced, I had (serially) several of the company's other envelope-following filters, but they didn't hold my interest for long. And since I have both fuzzes and filters, I can combine them myself if inclined. But I haven't heard a Tube Zipper, and it's likely it does extra EHX voodoo that I wouldn't get from my own stack.

And, boy, did that Golden Throat annoy my dad to no end!

Annoyance Quotient remains an important factor in any pedal decision. I find spouses, children, and neighbors suffice nicely as targets.

This begs the question - do you have all of them yet?

By no means. I do have 17, the most from any builder in my fleet - but none were chosen just because they're EHX. In fact, until the last couple of years, I tried to avoid EHX. It just happened that out of the company's full-spread barrage of effectron torpedoes, those 17 hit. And I certainly won't try to have all. I don't seem to collect pedals as a completist. While I'll keep pedals I'm not actively using just because they're too good to go away, I don't have interest in - or time for - pedals I don't like.

There is an aesthetic about some US brands which puts me off - and I suspect a lot of folks who are not from the US. I can't put my finger on what it is - I'll have to think about it - but there definitely is something about some brands from the US which seems unreliable to me.

The aesthetic objection seems insupportable. I can't think of anything US pedal brands hold in common from a design perspective. There's a wide range of enclosures, color and graphic schemes, control layout, knob choice, general vibe from primitive to amateur to kooky / cheesy / utilitarian / industrial / elegant. And I find the same range in pedals from the rest of the world.

But reliability - even general functional quality - has been an issue with Electro Harmonix, for sure. I think that's mostly or even entirely in the past now (current EHX product seems well-engineered and robust), but I can't imagine anyone who's played with EHX pedals through the decades hasn't had trouble.

Particularly in the days of the thinnish folded aluminum shells (enclosing vast amounts of empty space, it must be said), reliabiity was suspect. Pedals simply stopped working, sometimes for no apparent reason - sometimes for reasons it was amusingly easy to diagnose and fix (components which come loose, bad solder joints, loose wires). Sometimes it was more mysterious, and since the cost (and/or availability) of repair was steeper than replacement cost, you just chucked'em.

My Electric Mistress failed while in storage. I finally stopped using my belovéd original 1980 Deluxe Memory Man sometime in the early 00s because I just couldn't take the white noise any longer. That noise had always been there - it had just been worth it for what was a unique effect. But by that time there were alternatives. I bought another DMM to replace it, which went bad. I'm on my third one, and it's fine. It's no longer on a board, and lays in state in my effects cabinet - I can get 90% of its vibe from other smaller or do-more pedals, so it no longer earns its pedalboard space - but it's not going anywhere.

(Also: I bought my first DMM for 80.00, used, in 1981-82. By the time I made it go away, it had earned such vintage regard that I got several times that for it. Who knew noisy pedals were an investment?)

And noise was often an issue with pre-00s EHX product. Particularly in comparison to MXR, but especially Boss, EHX stuff did seem low-end and cheesy, even junky (if always interesting and imaginative).

It was actually around the same time (mid-80s) that Honda and Toyota were teaching us that "Made in Japan" now meant excellence and "Made in USA" could mean cheap and shoddy that Boss-from-Japan and EHX-from-NYC also served to demonstrate that very thing.

But from my recent experience, the current stuff is completely up to modern standards of design and build quality. Aesthetics, ehh, who knows. I appreciate pedals I find aesthetically pleasing, but it's somewhere near the bottom of my list of decision parameters.


I remember buying a used '70s Electric Mistress in a hock shop in Galesburg, IL in the 1990s for $30 or so. It was as cool as it was noisy! And it was VERY cool. And then in the '90s EXH seemed to make a comeback. Maybe they were never gone. But the current range has a whole bunch of stuff I'd like to have.


My very first pedal was an original Deluxe Memory Man. Bought brand new -- I don't recall the year (early 1970's???) or the price. Instant love!!

Sadly I parted company with it somewhere in the mid-90's. I must have been in a "new is better" mind set.......


Deluxe Memory Man. Bought brand new -- I don't recall the year (early 1970's???)

Nosir. The first Memory Man (analog delay, no modulation) appeared in 1976. The classic DMM - the fifth iteration of the Memory Man line - came in 1980. Versions 2-4, between those years, gradually introduced more of the whole package (chorus/vibrato choice, preamp gain, final control layout) which is now considered definitive DMM.

But one of them WAS named Deluxe Memory Man (though it lacked the whole set of features of the "final" version). So you could have had a DMM in the late 70s - but not early. If you had the whole feature set, couldn't have been earlier than 80s.

It was an expensive-ish pedal at the time; 160.00 or so runs in my mind. Could be wrong.

"Final" is in quotes above because there's never been a final version of any EHX pedal (until it's discontinued - and even then it's likely to come back). There's only the currently shipping version(s) - and for the Memory Man, there's a lot of modern options.

Interesting Reverb article here about the MM:

I completely understand the sentiment behind many players considering the DMM as essential a part of their rig/their sound as the guitar and amp themselves. I don't know if I'd go so far as to say (as one guy quoted does) that taking the DMM off my board would be like taking my soul away - but mine became absolutely essential, with a few favorite settings, for both my clean tone and my most characteristic overdriven lead tones. For 10 years, if I was playing guitar, the DMM was in use probably half the time. (And the MXR DynaComp pretty much all the time.)

Actually, no matter how many pedals I accumulate and deploy, I can't think of a gig I couldn't do with just a compressor, a light-to-strongish overdrive, and analog delay with modulation. A tremolo would be gravy, and even though Tavo doesn't love me anymore, the Brain is probably near-necessary. (Luckily the BS-301 incorporates both the Brain and a close-enough Memory Man.) Add a tuner and that's just 6 or 7 pedals - stringently minimalist by my current standards.

There have been so many clones, inspired-bys, and models/quotes of the DMM - some by EHX and many more by other builders - that most guys have some version of delay with modulation. And it's certainly not rare in the virtual domain: I can't think of a multi-fx or modeler that doesn't have a DMM mode. That modern ubiquity blurs what was/is special about the DMM - and at the time, there was simply nothing like it. No wonder it infected guitarists and became one of those seminally iconic pedals that creates a new category.

And I think it's true that, as good as modern interpretations of the pedal can be - often practically preferable for reasons of signal purity, noise floor, and tweakable versatility - not even EHX offers a new DMM today that has quite the gooey warmth of the original.

And, of course, none have the generous helping of white noise. But maybe that was part of the effect too.


The aesthetic I mean is the cheesy over-shiney Hotwheels kind of aesthetic. Matchbox, Corgi and Dinky were always far more restrained. It's the Revell thing, a funny-car thing, a cartoony monster truck kinda thing. EHX pedals were always too big and ugly compared to the sobriety of the average Boss pedal. Think '60s-'70s chopper with too much chrome, a german helmet and a 'frisco peanut tank compared to a Norton Commando. That's what I mean when I say some US brands have this aesthetic - I'm not saying all. I'd have the Norton every time.

EHX and to an extent Dod have this extremely American look to them which doesn't translate in a European or Aussie market. As much as I heard good things about some EHX pedals I always shied away from them because they were so clunky compared to the Japanese competition. And the names were extremely cheesy. They may have been great pedals but the marketing never appealed to me.


Somewhere, in a box of bygone toys, in the storage shed out back, lies an old and well used Small Stone. Pretty much the first pedal I ever owned, it was also the only EHX I was ever drawn to. I think I gave up on it when I began to realize the noise of the thing often masked over the effect portion of the program. Still, I don't think I've ever come across another phaser that had quite the same mojo. Over the years I did try a few other pieces from EHX, most notably the Micro Synthesizer - Analog Guitar Microsynth, but they all somehow seemed "a bit much" to coin a phrase. Like too much spice in the stew. Now that you've brought it up though, I'm kinda thinkin' that maybe I'll go take a look through some of those musty old boxes and see if'n the stone still rolls...


Hey General...if you happen to dog up that Small Stone and want it to go to a good home, you can count on me.


Hey Otter, consider yourself mentioned in the last line of my will...


sorry..but i knew mike matthews back in the day..he had a place on 48th street nyc guitar row..he was always around...i thought eh pedals always components..and he used women factory workers...soldering away...mostly latin american

sure his designs were inventive...he hired some smart design guys..howard davis?? from brooklyn..but they never stood up to use..extremely flimsy

mxr was 50x better heavy duty quality..

i still have original mxr pedals that work are all long dead

no thanks

matthews always had too much barnum & bailey in him..not for me



I had the original Big Muff and Soul Preacher, back in the day but have let them move along over the years.


Darn near bought this about a year and a half ago at auction (this is the auction photo), but at 1,200 pounds sterling I was outbid.

It's Peter Hook's 1978 EHX Clone Theory pedal. The one he recorded everything with and toured with. He had this to say about it:

"This is my sound, in a nutshell. The original pedal from 1978 bought from Mamelock’s on Deansgate in Manchester. The sound came to define both Joy Division and New Order. Modified so it could be switched off and on remotely. These are fantastic pedals. Barney and I went to see the guy who imported them in London and he showed us how to make the effects more extreme…very handy. I have since got in touch with Mr. Mamelok's great grand-daughter to work for her Charity. Isn't it funny how the world works?"


sorry..but i knew mike matthews back in the day..he had a place on 48th street nyc guitar row..he was always around...i thought eh pedals always components..and he used women factory workers...soldering away...mostly latin american

sure his designs were inventive...he hired some smart design guys..howard davis?? from brooklyn..but they never stood up to use..extremely flimsy

mxr was 50x better heavy duty quality..

i still have original mxr pedals that work are all long dead

no thanks

matthews always had too much barnum & bailey in him..not for me


– neatone

...and this is why I love you: "matthews always had too much barnum & bailey in him"


I’m still at the lowly location to where I can distantly see an actual bend in the curve regarding effects and just plain playing the dang gitfiddle, but I at least HAVE noticed that as wondrous as the H9’s on my board certainly are, I still have to have my Stereo Electric Mistress for chorus duty. I suspect an H9 can nail it but as of yet, I haven’t even tried. With the SEM, it ain’t broken, so...

The familiarity factor is an interesting phenomenon that I never experienced with drums. I wonder how much of it is a feeling of safety from knowing what one’s gonna get upon stompin’ on the button. The parameters are certainly easier to access than if one were to attempt to simulate it on an H9, thet thar’s fer sure.


I have a few pedals but the EH Memory Toy is the only one I use besides a tuner when I play guitar live. I bought it from somebody here years ago. Besides the delay it adds some extra je ne sais quoi to the tone and it's a beautiful thing. I don't experience an abundance of white noise either. I'm a fan of this pedal.


I don't experience an abundance of white noise either.

No, you won't. The noise issues (on all EHX stuff I have experience with) have been resolved, probably starting with 90s reissues - but certainly in pedals from this century.

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