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The late ’70s and ’80s saw the development of numerous studio-grade chorus rack units including the Roland Dimension D, Yamaha SPX90, T.C. The CE-1 featured a high and low input switch and knobs for level control, chorus intensity and vibrato depth & rate. In 1976, Boss released the famed CE-1 (Chorus Ensemble) pedal and the effect became accessible to even more guitar players. The solid-state Jazz Chorus featured a relatively low cost compared to tube amplifiers by rivals Fender and Marshall, and it became a favorite among guitarists playing a wide range of genres ranging from funk, to post punk and even metal. In 1975 Roland released the Jazz Chorus amplifier which had the effect built in. Other organs and synthesizers included a similar effect and the chorus sound remained a somewhat commonly used sonic texture throughout the late ’60s and early ’70s. Check out this wonderful resource on ADT directly from the Abbey Road Website. The Beatles and their brilliant engineering team utilized this technique extensively on Revolver and on many subsequent albums. The effect was dubbed Artificial Double Tracking, or ADT. Townsend employed a second tape machine which played back the original recording slightly out of sync with the first, while also using an oscillator to alter the playback speed of the second machine, resulting in a chorus-like effect. Displeased with the tedium of having to overdub his vocals, John Lennon repeatedly asked Ken Townsend if he could come up with a technical alternative. This generated a sound that was perceived to be richer, fuller and with more depth.Īnother ingenious use of this type of effect, although created in a much different way, was by engineers at Abbey Road Studios on recordings by (you guessed it) The Beatles. Hammond’s BC organ featured a “chorus tone generator,” which created a second note that was slightly out of tune with the first. It’s arguable that the first chorus effect was found within Hammond Organs in the 1930s.
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