Back in 1931 two recording companies merged; the Gramophone Company and the Columbia Graphophone Company (notice that second name is GraPHOphone- weird). The resulting merger became a company that most folks have heard of in these modern ages – the Electric and Musical Industries Ltd or EMI. During this same time, this new company found itself the owner of a an extravagant Georgian townhouse complete with nine bathrooms, two servant’s rooms and a wine cellar. The purpose of the purchase was to convert the building into a space that could record music on a grand scale. The company created several studios, of which, one was a massive room that could house orchestras. This was Studio 1. Another studio was one that could house about 50 musicians and became known as Studio 2. This building was located at 3 Abbey Road in London and Studio 2 was the space where The Beatles recorded most of their songs.
The Beatles are obviously famous for ‘changing rock and roll.’ But, they are also well known for the many recording innovations they tackled in Studio 2. Perhaps one of the most famous recording ideas was brought about by an Abbey Road engineer named Ken Townsend. Townsend had heard John Lennon lament about the time involved in manually double-tracking vocals (having to sing the vocals twice- or more). This is the process of having two vocals running at the same time. Because both vocal tracks are unique, they add a new depth when played together. This same depth wasn’t possible if you just played the same track over itself, because both tracks were identical. Townsend found a way to use the same track over itself by slowing down or speeding up the second track. He called the process Automatic Double Tracking or ADT. The use of this technique started heavily on Revolver and was used by The Beatles on many more of their songs that followed.
The ADT pedal has simple controls that give you lots of flexibility. Tune, time, voice and level are your knobs. Tune controls the pitch of the double-tracked echo. Time controls the range of delay between 30-120ms of delay time. Voice controls the level of the double-tracked echo and level controls the output level of the whole mix. Along with this, Keeley gives you three modes to choose from.
Dimension: According to their website, “This mode creates two additional voices of your guitar (or vocals, keyboards, or drums). One is tuned up and one tuned down. Meaning that one voice plays a bit fast and the other voice plays a bit slow. You control the tuning just like the studio engineers do by up to ten cents by turning the Tune Control.”
Abbey Mode: This is the ADT mode. They describe it like this, “This mode is a recreation of the Automatic Double Tracking made famous by The “Liverpool Group”. A delayed signal between 0ms to 30ms is modulated very slowly at a somewhat random rate by up to 2ms in depth. This is akin to having someone randomly put their hand on the tape reel of the other recorder to slow it down occasionally.”
Slap Back: The slap back mode is , “similar to the Dimension Mode, two “Tuned-Voices”, up to 10 cents, are delayed anywhere from 30ms to 120ms. Get a new sounding slap-back effect here! Rockabilly fans will love this and do it in the road. We think 80ms of slap-back is real hip Daddy-O.”
Here’s a demo of the pedal in action. Let us know what you think of this pedal and if you play it, leave a review at Pedal Finder.