Posts Tagged ‘lex’

Pedalboard Feature: Stanton Edward

Posted by Angela

stantonedwardStanton Edward is a guitarist and producer who has worked with several artists including The Wallflowers, KS Rhoads, Missy Higgins and more. When Stanton isn’t on tour he enjoys being back home working on music in Nashville, TN.

What kind of pedalboard is this, and what is your signal path?

This is a Pedaltrain 2 that has been customized by XTS (Xact Tone Solutions) in Nashville. I had them flatten out the top and put in a custom interface that allows me to send isolated lines to 2 amps. They also put in a phase reversal switch on one of the outputs in case I run into a phase issue between the two amps. Another cool option they included for me was an insert that will allow me to pop in extra pedals after my drive section in case I pick up something cool on the road and want to throw it on my board without ripping up cables and pedals.

My signal path is constantly changing – I typically setup a new board and amp configuration for each different gig I play to really capture the vibe and feel of the artist. Lately I’ve been touring with The Wallflowers and my signal path is as follows:

Ernie Ball Volume Pedal (with custom XTS buffer to retain high-end) > Throbak Overdrive Boost > Durham Electronics Sex Drive > Another Sex Drive setup as a solo boost > Original 1984 Rat > Stymon Lex > Modded EH Memory Boy > Strymon Flint > 90’s EH Memory Man > Dual Outs to Fender Deluxe Reverb & Vox AC-30


Can you share a bit on how you have been using your Strymon Lex?

What a great pedal. When I was looking for a leslie pedal the main factor I’d consider is the quality of the “low” speed. This is where a lot of pedals miss the mark. I’ve played through a ton of real leslie cabs and to me, the Lex sounds closer to the real thing than anything else out there. I’ve also got to brag on the Flint. I’m a tremolo and reverb nut. I typically play through old Gibson & Fender combos in the studio but can’t always bring them to a gig. I threw a Flint on my board about a year ago and I find myself using it more and more, even when I’m playing my vintage amps in the studio.

You recently did a cover of The Beatles “Tomorrow Never Knows.” How has John Lennon and The Beatles influences you as a musician?

I mean, it’s John Lennon… What can I say that hasn’t been said a million times before? What an unbelievable creative individual he was. The Beatles are my “desert island” band for sure. There’s just so much variety. I’ve always loved their weirder, more experimental stuff and “Tomorrow Never Knows” is no exception. I love George Harrison’s playing on that track and I was really trying to capture that cutting lead tone on the solos. The main thing I take away from listening to The Beatles’ records is that they wouldn’t get in a hurry to churn something out. So much that happens on their tracks is so deliberate, creative and thoughtful while still retaining a raw, exciting feel. I try to keep a healthy balance of those two elements when I play. To me, great music is 50% brains and 50% guts.

Nashville is known for it’s great music scene. Can you share a bit about your musical adventures in Nashville? And for a newbie in Nashville where is the first place they should go for an evening of music?

Simple. Watch Mike Henderson on Monday nights at The Bluebird Cafe. I’ve been going to see him since I moved to town 11 years ago. Mike will show you that playing guitar is ALL in your hands, not your gear. His touch on the guitar is beyond words.

Do you have any bits of advice you could give for a band going into the recording studio for the first time?

All of my favorite artists strike a healthy balance of playing from their brain and playing from their guts. To me, that’s what it’s all about. Take the time before going into the studio to really practice and hone your skills. One thing I really hate to hear from guitar players is the classic line “I don’t practice because I want to play from the heart in the moment”. To me, this is such a misguided approach. You want to get your hands in a place where they’re ready for anything your brain can throw at them in the moment. Doing this will give you the freedom to explore new areas in a live situation and will get you out of the rut of playing your tired old “go-to” riffs and licks.

Listen to your favorite players, steal riffs and techniques from them and incorporate them into your playing. Learn the fretboard. Can’t stress that enough. Practice your scales & modes. Take the time to learn chords in every inversion up and down the neck. It makes such a difference and will really free up your playing. You’ll be amazed how that preparation will pay off when you’re in the moment in a live show or session.

Probably most importantly is to remember that as soon as you think you’ve learned everything there is to know about the guitar you’ll immediately stop getting better. Chet Atkins would steal riffs and learn new things from fellow guitar players right up until he passed. That inquisitive spirit is what made him one the best players to ever touch the instrument.

What current projects are you working on?

I’m currently playing shows with The Wallflowers and working on records with Ivan Howard (The Rosebuds), ElenOwen, KS Rhoads and Sylvie Lewis – I also compose for film / tv and enjoy sound design and recording strange instruments.

And for a bonus Stanton has included a video a fan took of The Wallflowers playing at Riverfest in Little Rock – Stanton is using the Flint Trem & Reverb on the verses. reviews Lex Rotary

Posted by Ethan

Lex RotaryRotating speaker cabs have been a part of David Gilmour’s sound since 1971-72., a site devoted to Gilmour’s music, albums, tours, and gear, recently put our Lex Rotary pedal through its paces. Check out the review!

“The Lex Rotary was designed with a painstaking focus on details and the complexity of a rotary cab and look no further people – this is as close as you’ll get to fit a Leslie in a box!”

“Standing in front of the stereo setup you can hear how incredibly dynamic and sophisticated the Lex is.”

“Judging by the Strymon website they set out to create the most authentic sounding rotary simulator and in my humble opinion I think they’ve done it. Highly recommended!”

Check out the full review below:

Read the review!

Harmony Central reviews Lex Rotary

Posted by Ethan

Lex Rotary effects pedalPhil O’Keefe over at Harmony Central recently had a chance to put our Lex Rotary rotating speaker pedal through it’s paces. Check out his review here!

“I’ve heard a lot of simulators over the years that have tried to nail the sound of a rotating speaker, and the Lex is right up there at the top of that list.”

“If you’re the type of player who likes to ‘work the switch’ a lot rather than leave it at one speed all the time, you’re going to really like the Lex. It does those all-important transitions between speeds beautifully.”

“The preamp drive is pretty remarkable in terms of the accuracy of its tone and vibe.”

Read the review!

Interview with pedal steel guru Jon Graboff

Posted by Ethan

Jon GraboffJon Graboff has been very busy over the years, recording with artists across genres and across the planet. Possibly best known for his work with Ryan Adams and the Cardinals, he has also recorded and/or toured with the likes of: Willie Nelson, Norah Jones, David Byrne, Carrie Underwood, Joan Osborn, Yo La Tengo, Ben E. King, Harper Simon, Phil Lesh and others. Recently we had a chance to chat with Jon and talk pedal steel, effects pedals, his musical experiences, and all sorts of other fun.

Can you tell us a bit about your formative musical experiences?

Well… when you’re from New York City, and there’s everything around you from jazz to hardcore, from afro-Cuban to Bollywood… it all gets inside you one way or another and informs your musical outlook. My mother was a very talented classical violinist and my dad was an artist and illustrator who played a pretty wicked clarinet. There was music of all kinds going on around me pretty much all my life.

What drew you to pedal steel guitar?

Jon Graboff pedal steel - with remote Strymon switchI’m not sure what attracted me to the pedal steel guitar but I remember the first time I heard one… even though I had no idea what it was at the time. I heard the first few notes on the Byrd’s album “Sweetheart of the Rodeo” and I clearly recall being captivated by the sound of it. A few months later, I was in a roadside diner with my family. We were going somewhere and someone played “If Teardrops Were Pennies and Heartaches Were Gold” by Dolly Parton and Porter Wagoner on the jukebox. There is a pedal steel intro on that too and I thought, hey, that’s the same instrument! Interestingly, they were both played by steel guitar great Lloyd Green.

» Click here to read the rest of the article »

Lex Rotary receives the Premier Gear award

Posted by Ethan

Lex Rotary - Premier Gear awardWe’re super-excited to announce that Lex Rotary has received Premier Guitar’s coveted Premier Gear award!

We’re also extremely proud that it has received 5 out of 5 stars in their recent gear review. They say, “The Lex nails a host of rotary speaker tone, but it also delivers a lot of the response and feel of playing one in impressive fashion.”

Read the review! is giving away a Lex Rotary

Posted by Ethan

This contest has ended. Stay tuned for other giveaways.

Lex Rotary effects pedalOur friends over at are offering up a Lex Rotary pedal. Head on over there and enter to win! While you’re at it, be sure to check out the many guitar video lessons that they have available.

Contest ends June 1. Ok, go!

Enter to Win!


They’ve also put together this very in-depth video review of Lex. Check it out:

Lex Rotary – almost ready!

Posted by Ethan

We’re putting the finishing touches on Lex Rotary.

Gregg running Lex through our audio quality tests:

Gregg running Lex through audio quality tests

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Enter to win Lex Rotary!

Posted by Ethan

Congratulations to Scott Anderson of Boston, MA. You’re the winner of the Lex Rotary. Stay tuned for other contests!

Lex Rotary - Enter to Win!

Enter below to win a shiny, brand new Lex Rotary. Get ready to add a maelstrom of dramatic, three-dimensional, sweeping and swirling rotary sounds to your rig. The classic, unmistakable sound of the most sought-after rotating speaker system, faithfully recreated and executed, all in a compact, pedalboard-friendly format. No purchase necessary to enter or win. The winner will be chosen randomly from the list of qualified entrants. Contest ends April 30, 2011. Ok, go!

» Click here to read the rest of the article »

Rotary Speaker Technology White Paper

Posted by Ethan

Lex RotaryWhen we decided to create a studio-class pedal that faithfully recreates the classic, unmistakable sound of the most sought-after rotating speaker system, we prepared to study every nuance.

Our sound design labs have been filled with those signature, swirling, three-dimensional sounds, as we painstakingly analyzed and recreated the physics and mechanics behind these systems.

The result is our rotating speaker technology found in Lex Rotary. Pete Celi, our Lead DSP Engineer and Sound Designer illustrates the research and sound design process in the White Paper below. Check it out!

Strymon Rotary Speaker Technology

Rotary Speaker Overview

Classic rotary speaker systems consist of a spinning horn for the high frequencies, and a rotating drum fed by a separate driver for the low frequencies. There are typically two motor speeds, slow and fast, which are also referred to as chorale and tremolo. These systems were originally designed for use with electric organs, but guitar players soon wanted in on the fun.


Rotary speaker systems create dimension and depth when rotating slowly, while generating controlled chaos when spinning at fast speeds. While simple vibrato or chorus effects can create a “poor man’s rotary” sound, a dedicated DSP implementation is required for an accurate reproduction of the many varied aspects responsible for this classic sound. Successful DSP implementation requires a comprehensive study of the physical acoustic phenomena that occur in these rotary speaker systems. Some of the key processes are discussed below.


The most identifiable effect that a rotary speaker system imparts is the pitch fluctuations known as the Doppler effect. This is a result of the horn’s movement relative to the listener, in the same way a siren appears to change pitch when a fire engine passes by.


Since the speaker makes the same movement cyclically, the pitch fluctuations occur cyclically also. This is why a traditional vibrato or chorus is sometimes substituted for a rotary effect.


However, the Doppler effect as produced by a horn spinning inside a cabinet is much more complicated than what is produced by a simple chorus or vibrato effect. As the horn spins, the sound waves from the horn reflect off the interior surfaces of the speaker cabinet, with each of these surfaces experiencing its own Doppler effect before creating secondary reflections on to other surfaces. The sound that emanates from the cabinet to the listener (or microphone) is a complex combination of the horn’s direct sound and the many reflections.


The spinning horn also produces amplitude and frequency response variations throughout its rotation. As expected, the horn’s direct signal is loudest and brightest when facing the listener, and softer and duller when facing away. These aspects also come into play in determining the nature of the many reflection signals.


The typical drum configuration is a downward-firing speaker projecting into a rotating cylinder that has a rectangular cutout. An electronic crossover circuit limits the bandwidth of the speaker such that only low frequencies are projected into the drum. As the cylinder spins and the cutout revolves, a pulsing amplitude modulation (tremolo) effect is produced for the lower frequencies. The phase of the amplitude-modulated signal also changes as the cutout moves across and to the rear of the cabinet. The resultant sound produced by the drum is hypnotic and has a “breathing” quality to it.



The classic approach to capturing the movement of sound involves a pair of mics at the top of the cabinet at the horn and a single mic at the bottom to pick up the drum. As the mics are moved closer to the cabinet, the amplitude fluctuations caused by the inverse square law effect become more pronounced and the horn signal gets a recognizable “choppy” quality at high speeds. Another result of close miking is an enhanced stereo effect that is very noticeable at slow speeds as the horn passes by one mic and then the next. As the mics are moved back, the fluctuations even out, eventually creating the sound that would be heard naturally in the room at a distance from the cabinet.


Motor speeds, ramping, and braking

In both the tremolo and chorale speeds, the horn spins slightly faster than the drum, so that the resultant sound is much more complex and evolving than if the two were spinning at identical speeds. Additionally, the inertia of the low-frequency drum is much greater than that of the horn, making it more resistant to changes in speed. Thus, while the horn speeds up and slows down rather quickly, the drum takes much longer to reach its speed. Changing speeds is where the “magic” of these systems is most apparent.

Some rotary systems allow for “braking”, which is when the speed of the horn and drum is reduced to zero so there is no more rotation. With the brake applied, the system is just a two-way stationary speaker system. When the brake is released and the systems starts spinning again, the full impact of the complexity of the system unfolds.


The original rotary systems had a tube amplifier built in to drive the speakers. Overdriving the amp creates harmonics that add a new dimension once they are set into motion through the rotating system. This sound is often referred to as the “growl” of a rotary speaker system, and it has become a signature trademark of these systems.

Strymon Rotary Algorithms

In developing the algorithms that produce these unmistakable sounds, we painstakingly analyzed and recreated the physics, mechanics, and intricate processes discussed above.

The horn signal exhibits all the chaotic yet periodic fluctuations inherent in rotary speaker cabinets. The drum signal pulses and breathes. A two-speed motor engine with braking capability controls the independent Horn and Drum processes. The speed ramp-times reflect the drum’s resistance to change and the horn’s light weight. Fast and slow speeds are independently adjustable, and trimming of the acceleration times is allowed for.

Additionally, a variable mic-distance control allows a wide range of sounds, from dramatic close up sweeping and swirling, to more mellow and calming undulations. A tube preamp drive control allows for overdriving the system to create rich harmonic content, with additional control of the Horn level to match your amp’s voicing. All of this without the need to lug around a behemoth cabinet, setting up microphones, worrying about proper microphone placement, and performing costly motor maintenance and cleaning.

*All product names used in this article are trademarks of their respective owners, which are in no way associated or affiliated with Strymon or Damage Control.

Lex Rotary – a preview

Posted by Ethan

Coming soon… Lex Rotary.

Lex Rotary - a preview

Stay tuned for the Rotary Speaker Technology white paper and sound samples. More info on the sound, tonal flexibility and the range of controls coming soon.

Sign up for our email newsletter and we’ll email you more details when they’re ready!

Putting the finishing touches on Lex…

Posted by Ethan

Working on Lex

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Learn more about the team. Read More »