[Date Prev][Date Next]   [Thread Prev][Thread Next]   [Date Index][Thread Index][Author Index]

RE: Lovetone address

I just got my Ring Stinger a couple of weeks ago, so they are still in
business. I offered Vlad my services to update the Web site, but he said
that he was going to handle it himself. I guess he's busy making pedals. 
e-mail address should work since I just corresponded with them last week.

For those that haven't seen the Ring Stinger, it's the same size and layout
as the Meatball/Doppelganger ... and it's PINK!

BTW ... here's a press release from them ...


Ring Stinger
ring modulator/fuzz octave doubler/repeater/dirt box/optical synth


klangs, bells, metallic fx, pseudo vocoder fx, dalek noises, sci-fi
atmospherics, spooky warbling, trem arpeggios, tonal toggling, touch
sensitive keying, pitch crossfiring, microtonal + atonal fx, evolving
drones, digeridoo fx and not least the meanest graunchiest octave fuzz ever
- and these are just for starters!

Amazing on guitar, bass, keys, synths, drums, studio applications -
anything at all in fact! Stunning in conjunction with the other pedals -
especially in the Meatball loop!

* sine/triangle/sawtooth/square VCO with range down to LFO frequencies for
repeater/gate fx
* CV/external pedal input for VCO frequency
* VCO insert point (VCO output available for creating unique synth noises -
* triangle/square wide-range LFO to modulate VCO frequency or VCO pulse
width or octave drive! (goes up to audio frequencies for FM FX)
* LFO depth control - don't knock it till you've heard it!
* external pedal input for LFO amount - nice!
* footswitch for LFO enable (handy - or is it footy?)
* timbre control
* blend contol (great for retaining bottom end on bass sounds - octave mode
gives fat, edgy germanium distortion but with added bass!)
* footswitch for ring mod/octave
* light sensitive jack adaptor for Theremin-like fx or random ambience
modulation (can also be used on Meatball, Doppelganger and Wobulator
instead of passive volume pedal!)
* Bypass footswitch

We are currently offering the Ring Stinger at the amazing pre-order price

The Meatball is an amazing new envelope follower/triggered filter - the
funky blue alternative to a high fibre diet that has put a smile on  a lot
of faces! Because of the large number of controls, and because changing the
position of any one affects the way in which the others will interact, this
offers a truly vast array of sound possibilities (from the sublest effects
to frightening untamed excesses!) and means that the Meatball can be "tuned
in" to dance the most intimate tango without treading on your toes or just
wave its arms in the air and let it all hang out. (The filter frequencies
can also be tuned precisely to allow laser guided goosing of high gain
distortion). While the Meatball is capable of the most gratuitous
"auto-wah" funk abuse and visits the promised land of Bootsy "You won't
need any spaghetti with this Meatball it's real phat" for fun, this
represents but a mere fraction of its potential which includes totally
unique new sounds. The large frequency and dynamic range makes it equally
suitable for bass, guitar, keyboards/synths, samplers and general studio
use - in fact any audio signal whether a single sound source or programme
material. By treating simple waveforms it can become an analogue synth in
its own right, or it can be used as an aural exciter to add sparkle and
depth particularly to lifeless samples. The external trigger facility
enables the filter to be triggered by a completely separate audio source
which can be another instrument, pulse or click or even touching a lead
connected to the input! A great way to exploit this is to use one aux send
on your mixer for the sound source and another one for the trigger so you
can literally trigger anything with anything which as you can imagine can
give rise to some pretty freaky effects.


Sensitivity control.
Attack and Decay controls.
Range control (which doesn't affect the triggering) and can be used to
fine-tune the frequency response and create subtle effects.
Resonance control.
Blend which mixes straight signal with effect creating a whole new palette
of sounds.
Pedal facility which allows the use of a standard passive volume pedal to
create wah-type effects.
FX loop - insert octaves and distortion for some real 70's cheese, or use
for external trigger facility.
Up and Down response curves.
High, Low, and Band-pass filter modes.
Four selectable filter frequency ranges.
Triggering off full or half bandwidth and trigger off - useful for instance
as a static tone control or for adding or scooping tone with blend.
LED showing filter response.
LED showing effect on/off.

The Doppelganger is a twin oscillator phaser/vibrato but being in the
grand Lovetone tradition it offers a whole range of classic uses never
previously available in one unit, as well as many new sounds. Its trademark
is an unparalleled purity and transparency of tone and harmonic richness
making it a real texture machine.  The subtle yet ever-changing way the
controls interact has a truly mesmerising effect which speaks directly to
the sub-conscious mind (as well as the stoned mind!). It covers the whole
spectrum from mellow and virtually subliminal, to Hendrix-y, to crunchy and
chomping (reminiscent of the ubiquitous 70's phase sound), to swirling
rotary-type fx. On more subtle settings (especially in vibrato mode) it
gives movement and life to the sound without discernible processing and
because it sounds so natural you can almost forget its there - until you
switch it off! In less introvert moments it can warp sounds into
multi-dimensional knots or whip up squeals and harmonics into a sci-fi
frenzy. It never manages to sound sickly on any setting, and in fact makes
an ideal replacement for all the sounds contained in the thesaurus of
chorus as it provides plenty of width and attack definition but without the
nauseating side effects. Vibrato mode has a very vibraphone-like modulation
and is great for moody jazzers. It is also useful for creating spacial 3D
stereo effects by panning the output opposite a straight feed off a mixer.
As well as guitar and bass, the Doppelganger can of course be used on any
instrument and works particularly well with classic keyboard sounds.

Two LFO's with Pedal facility for each.
Span (depth) controls for low and high frequencies (which can either be
driven individually by two LFO's or together by LFO 1).
LED's showing filter status.
Colour (resonance) control.
Blend control.
LFO 1/Dual LFO mode foot switch.
Phase/Vibrato foot switch.
True and Spectral (filtered) bypass modes.

The Brown Source is pure overdrive and, as its name suggests, an instant
flash-back to that dynamic, singing, BIG late 60's / early 70's brown sound
that is associated with countless classic records spanning the whole
musical spectrum. It offers unparalleled purity and touch sensitivity and
an uncannily warm "valvey" grunt with the absence of the unnatural fizz
associated with most overdrive pedals. There is also a very tangible sense
of electricity (remember that!?) as it piles on the pylon factor. It
responds extremely well to filter changes (producing a throaty "voice box"
type distortion) and consequently works an absolute treat with a wah in
front  - and will make any new guitar sound 30 years older! Because of its
large image size irrespective of volume, and natural communicative response
it makes an ideal recording tool or "desert island" companion. Three
classic ways to use the Brown Source with a guitar are for snap crackle and
"pop" into a clean amp, dripping fat into a cooking amp and controlled
feedback with singing harmonics into a driven amp. In the studio it can
perform amazing transformations on the most unlikely time travellers, or
blended in with the straight signal it can be used to add a touch of dirt
to those unfashionable clean cut sounds!

The Big Cheese is a loving homage to the nasty,  buzzy yet gorgeous and
harmonically rich early  fuzz. While having many of the classic
characteristics that every fuzz fan will relate to it goes beyond to create
an absolutely distinct character of its own. Its innovative and interactive
controls can take it from almost "gated" break-up to overkill of shred
proportions. Far from being just a guitar pedal however the Cheese is
eminently useful for seeing to any sound with the temerity to be naff or
boring (with particularly amusing consequences in the lower regions). To
lovers of that extraordinary spectacle known to some as "furrrzze bass!" it
offers terminally thunderous, ripping yet glitch-free and buttock-clenching
mayhem that can only be described as Larry Graham on steroids (as
demonstrated to devastating effect by the man himself!). The Big Cheese
works exceptionally well in the fx loop of the Meatball creating some of
the squelchiest curdled sounds ever - particularly true of the "cheese"
setting which gives the signal huge dynamics thus cutting through a mix in
a manner not unlike early analogue synths. Coupled in this way with an
octaver it can perform an uncanny impersonation of a guitar synth with no
delay or tracking worries.

The Big Cheese and Brown Source are no longer available. However, we have
so many people asking for them and because they work together very well we
are making a run of the Cheese Source, that will combine both fx (with
identical circuitry as before) in a large format (same as Meatball size)
case. The Cheese Source will have 2 footswitches, 2 inputs and outputs
(although the "Cheese" output will be "normalised" into the "Source" input
thus not requiring an external connection).
It will also have LED's!
Please see ordering info for details.

The Wobulator is a super-psychedelic twin-oscillator stereo
tremolo/vibrato/panner and is as you would expect much more than an
ordinary trem pedal. Although of course it is more than capable of mono
trem effects such as those associated with classic amps it goes much
further due to an abundance of modulation possibilities. Also, being stereo
it can create numerous spatial effects either in the studio or with two
classic amps - YES!! Its warm, smooth and flexible sound has made it a
favourite mixdown tool for treating everything from drums to vocals not
forgetting yer standard classics like guitar, electric piano etc.
stereo outputs
2 LFO's
multiple waveforms
4 modulation modes
sync facility
pedal input
special smooth sound!

The Wobulator has 4 basic modes:
1 TREM  - both Left and Right move up and down at the same time, but with a
"cross-over" effect where Left is low pass filtered and Right is high pass
2 PAN - Left and Right move in anti-phase without a cross-over, akin to a
normal "figure-of-eight" auto-panner.
3 VIB - same as TREM but in anti-phase, creating subtle phase cancellation
(and therefore pitch and volume change) effects.
4 DUAL TREM - this again uses the cross-over but brings into play the
second LFO. Left is now driven by LFO 1 and right by LFO 2.

Each LFO has a Rate control and an option for Triangle or Square waveforms.
(LFO 2 operates in a higher range and goes up to audio frequencies which
creates some unusual if subtle frequency modulation effects.) The square
waveform gives a "gated" effect which can get pretty weird in stereo. LFO 1
also has a Pedal input for controlling Rate (as on the Doppelganger) as
well as a Trigger Input!! which resets the waveform each time it receives a
suitable pulse or click. This feature can be used to sync the LFO to a
particular tempo, or to create "burst" or "ramp" effects for example. Both
Left and Right outputs each have a Depth control and an "Enable"
footswitch. Disabling the modulation on either one so that the other is
moving against the straight signal opens up a whole new world of rather
scary sounds!

All the above effects are available in mono where they are summed to one
output. (If you only have one amp but with two contrasting inputs you can
use both Wobulator outputs to really bend some sound!)




The pedals are built in small batches and there may be a waiting list. If
this is the case then orders are accepted on a first come first served

All pedals come with a 12 month guarantee and because we only sell direct
we also offer a money back guarantee. We will refund your money (less
shipping) if not satisfied provided you return the goods within 10 days of
receipt in original condition and in the original packaging.

(Please note - if you're paying by credit card it automatically gets
converted at your end so there's no hassle.)
Please refer below for prices of pedals and shipping to the USA and Canada.
The current exchange rate is in the region of 1.65 US dollars to the pound.
The APPROXIMATE dollar equivalents are given in brackets. THIS IS ONLY A
ROUGH GUIDE and Lovetone cannot be held responsible for any fluctuations.

                Pedal       Air Mail     UPS
                           (7-14 days)  (1-2 days)

Meatball        199 (328)   20 (33)     44 (73)
Doppelganger    219 (361)   20 (33)     44 (73)
Cheese Source   229 (378)   20 (33)     44 (73)
Wobulator       239 (394)   20 (33)     44 (73)

The Cheese Source is not yet available. We are taking pre-orders which
will operate, as usual,  on a strictly first come first served basis with
full payment up-front. Delivery is expected in Spring '99. Since the Brown
Source and Big Cheese were phased out earlier this year there has been an
ever increasing demand for these unique pedals. If you're interested please
let us know as soon as possible - we anticipate that these won't hang
around too long.

Shipping for multiples of pedals is given in the table below.

                 Air Mail     UPS
                (7-14 days)  (1-2 days)

2               30 (50)     57 (94)
3               36 (60)     66 (109)

For any other quantities please ask for a quote.



We accept Mastercard and Visa and American Express. Please forward your
credit card number with expiry date, the card holders name and address, and
ADDRESS. International Money Orders/Bank Cheques should be made payable to
Lovetone and sent by registed post for proof of delivery.
For more information please contact:

P.O. Box 102

UK Tel/Fax:     011 44 1491 571411
e-mail:         lovetone@channel.co.uk
internet:       http://www.channel.co.uk/lovetone

For those of you that get confused about these things and want to phone us,
we are 8 hours ahead of Western time and 5 hours ahead of Eastern time, so
call before noon (your time) and you should get a result!

Our web details may be changing in which case please contact us for 


Tim Slater, "Guitarist" August '95:
You really have to hear the Meatball to fully appreciate what it's capable
of.. it's far, far more than a simple touch wah.  The wah sounds themselves
are about as low down and righteously funky as you could possibly get...
the Meatball will easily do the 'quacking' sound of a touch wah unit.
However, one thing that is really loved about the Meatball was its ability
to perform an uncannily accurate impression of an ancient analogue
synthesiser which opens up a hitherto unexplored world of fantastic sonic
textures previously denied to guitarists, even by modern guitar synths and
digital effects.  When used with a little imagination, the possibilities
seem virtually limitless.  Adding an overdrive unit transforms the clean
'boops' and beeps' into some of the squelchiest, squidgiest sounds
imaginable, like no effects pedal I've ever used before. It's really
enlightening and inspiring to try out such an innovative, but fundamentally
unintimidating device.

Dave Burrluck, "The Guitar Magazine" Sept. '95:
" - the 'Ball's numerous controls never seem to do the same thing twice!
Think of any cheesy/great '70s funk or US TV theme and think swooshy,
auto-wah guitar noises - just what the Meatball serves up. You can get many
different flavours; from thick and very bassy to unbearably thin. Via the
blend control (like an FX wet/dry) you can tailor the amount of
'corruption', brilliant for adding subtle (or intense) interest to
high-gain solos."

Peter Forrest, "The Mix" Nov. '95:
"It may not be round, but it's certainly tasty. And the revolutionary
Meatball stomp box is not just for guitar heroes."
"Bootsy Collins effects are meat and drink to the Meatball."
"The Meatball is a great-sounding filter, with really effective envelope
following. It's got bucketloads of tweak potential, and can even turn a
fairly static and ordinary-sounding instrument like a Roland MT32 into
something that's inspirational to play - particularly with a
velocity-sensitive master keyboard."

Roger Newell, "Bassist" Feb. '96:
"This is a very substantial, well built pedal...the considerable assemblage
of controls is only surpassed by the range and manipulation that can be
performed on the sound...the available sounds are really impressive and
although the basic 'enveloping' effect tends to be dominant, the sonic
potential around that is truly vast...if you are into experimenting then
this will give you a field day."
"So is the Meatball as valid for bass as it is for guitar? A most definite
yes...the sounds are rich and full and capable of producing a sub bass
feeling in the gut comparable to a Jumbo Jet taking off."
"It's fun to use..but in the end some seriously funky vibes come leaping
from your rig, er, man."

Joe Gore, "Guitar Player" June '96:
You can sum up the Meatball in three words:  sick, sick, sick.
The most common application of envelope-filter effects is the quacking
auto-wah function that serenades you on records by Bootsy Collins and
certain of today's retrominded funkateers.  The Meatball renders such
sounds splendidly - but is can also elicit many equally horrifying sounds
that you probably never knew existed.   It's a Pandora's box of twisted,
tweezy tones... We're talking pig snorts, bird whistles and the dulcet
sounds of the lower digestive tract.
The pedal includes a brilliantly implemented loop...  We patched a
saturated distortion sound into the Meatball's effect-return jack and the
output from a drum machine into the "in" jack for instant synchronized
psycho-bleating.  Next we plugged the big Cheese, set on "Swiss" (see
above), into the send and returns.  Words fail.

Chris Everard, "DJ Technology" Oct. '96:
-oozing, squeezed out, frequency sweeping lusciousness. Lovetone describe
the Meatball as an 'Envelope follower/Triggered filter' capable of subtety
and excess' - they're not wrong. This is just the ticket for making
essentially 'flat' sounding samples of real synths sound more alive and
perky. By adding a filter curve and oscillating resonance to a percussion
track or bass,  your songs all of a sudden come to life with undulating
funky osmosis. Like the other Lovetone pedals the Meatball is very quiet
and has a large enough bandwidth to be used creatively in a stereo mix.

Tim Slater, "Guitarist" March '96:
If true vintage effects are what you're after, the Doppelganger truly
delivers. You shouldn't  find it a problem to recreate the evocative wash
of a Uni-Vibe, the hard edge of an Electro-Harmonix Small Stone or an old
MXR phaser unit with impressive accuracy and without a trace of the
extraneous noise which plagued older pedals.  Another point where the
Doppelganger sidesteps older effects is that while its processing is very
lush there remains  a distinct transparency which lets your core tone
through, instead of dominating everything in sight.
Rarely has any single unit produced such an astonishing array of
fascinating sounds...the Doppelganger ventures beyond the realms of mere
nostalgia and  deserves attention as a relevant piece of gear for today's

Roger Newell, "Bassist" April '96:
The Doppelganger is pretty easy to master,  so you are soon provided with a
vast selection of sonic sweeping and pulsing effects... many of the sounds
are so interesting it's easy to forget to use restraint. This is a
super-quiet unit in operation, sturdily built, well-designed and above all
a great deal of fun; like their Meatball, this is another well thought-out
hybrid.  Not only do they (Lovetone) provide the ability for total
interaction between each pedal's internal effects, but positively encourage
the chaining of other sound shapers for a truly cosmic experience. If you
fancy a trip into the alternative sounds universe this could be a great
place to start.

Joe Gore, "Guitar Player" June '96:
Lovetone's Doppelganger pedal can evoke subtle flavours reminiscent of, if
not identical to, a Uni-Vibe.  But like the other Lovetone gadgets, it goes
to much kinkier extremes.  According to Lovetone's ever-hilarious notes,
"the subtle yet ever-changing way the controls interact has a truly
mesmerizing effect which speaks to the sub-conscious mind as well as the
stoned mind." No one on our staff condones the use of mind-altering
substances or knows anyone who does, but the Doppelganger sounds so trippy
that we can only surmise the manufacturer is telling the truth.
Unlike some of the over-the-top '70s modulation effects of the sub-Mu-Tron
variety, (it) maintains crystalline sound quality - the finely tuned color
knob adds piquant, voice-like resonance to the lower range oscillator -
(the) effect-blend knob lets you craft effects ranging from the
near-subliminal coloration to "Pass the Dramamine!."  Another surprise is
the vibrato mode, which is akin to a Uni-Vibe's but more smooth, musical,
and just plain usable.

Chris Everard, "DJ Technology" Oct. '96:
The Doppelganger is a metamorphosing phaser capable of 'down the drain
pipe' hollow, sucked out midrange sweeping phase shifts which keep the
input source warping and weaving into a blue haze of swirling tonal
variety. The Doppelganger can turn vocal tracks inside out and is also good
at providing a transparent, rotating speaker effect to sustained keyboard
sounds. The Doppelganger is ideal for thickening up atmospheric backdrops
on amdient grooves and dream house tunes - used to its lethal maximum, with
the LFO speed turned fully clockwise, it does a good impersonation of a
tremelo pedal in a centrifuge.

Tim Slater, "Guitarist" March '96:
Described by some as "Keef In A Box', but I wouldn't rule out Billy Gibbons
and ZZ Top either! The Brown Source is a fascinating device. I would really
recommend that any player serious about putting together a set-up with the
aim of finding some truly beautiful, responsive and classic overdrive
sounds would do well to consider the Brown Source as part of the overall
equation. Put your mind to it and the thing will produce some of the
swampiest, low-down raunch ever...and when you reach that certain point
where you can hold a note and it just sings; that's when the Brown Source
proves itself as a happening piece of kit...the player, instrument, pedal
and amp all have their part to play in achieving this musical alchemy,
rather than just cranking the gain to maximum, at the expense of a truly
happening tone.

Joe Gore, "Guitar Player" June '96:
The Brown Source may be the most subtle overdrive pedal we've encountered.
While it excels at lower-gain sounds reminiscent of early-'70s rock, it has
an extraordinarily transparent open voicing.
The Brown Source doesn't force a sonic agenda on your tone.  It's ideal for
adding a bit of grind while retaining the color of a great guitar/amp
combination.  It would, for example, be perfect with a fine old
non-channel-switching amp.  Well done.

Chris Everard, "DJ Technology" October '96:
"Billed as the overdrive pedal that 'makes any guitar sound 30 years
older', the Brown Source gives that bassy, low down chunky sound of
Hendrix-style creamy distortion. It's capable of creating a big 'stadium'
sound at low volumes and has enough variability to recreate everything from
raw edged, fuzzy Motorhead noises (even with a banjo), to mellow,
dreamscape, ambrosia overdrive. Patching staccato-like, short decay
arpeggios and percussion allows you to take the backing track from a clean
sound with a seductive hint of a fuzzy edge to scary, sustained distortion
which goes insane when anything with reverb is added to the input. You can
combine the Brown Source with a wah wah pedal to give you awsome synth
textures - enabling you to tweak the tone and 'drive' -  or with a
sequencer for scary overdriven raspiness."

Richard Bailey, Fuzz Pedals Round Up "Total Guitar" April '96:
A great pedal with a fantastic personality, hand-made with cool '70s
styling. The Big Cheese has four distortion modes, plus tone and gain.
Played hard it has an unusual squashed sound, bags of gain and an extra
something they call 'Whey' but I call 'Balls'. Design-wise it's got a metal
case with ace flip top design for tool-free battery changing. Best of all
are the incredible range of fuzz tones from razor smooth to short 'n'
curly. A future classic.

Tim Slater, "Guitarist" March '96:
It  almost goes without saying that the Big Cheese lives up to its name,
but merely describing this pedal as a vintage fuzz tone is really doing it
an injustice.  The only real problem is that you've got so much distortion
on tap that it's frighteningly easy for affairs to get quickly out of
hand.The scooped sounds in Position 1 are an ideal starting point for
tapping into some surprisingly up-to-date modern metal or thrash sounds;
even from a pedal which claims to have its roots firmly planted in decades
gone by.  The distortion is very good indeed; there's a lot of it, but the
overdrive is big and bulging with rich harmonics...in Preset 2, where the
fuller, more midrangey sound can be honed and buffed up into a beautiful
overdrive; warm and fat in the centre and buttery and smooth as a baby's
bot on the outside.  Although the Electro-Harmonix Big Muff shares this
uncompromising delivery...the Cheese's superior tone controls give it the
edge over its illustrious predecessor. The Cheese setting brings us to the
edge of the abyss - abandon all hope ye who enter!  As the Curds level is
increased the sound breaks up more and more until it finally gives in,
uttering a chilling crackle like that of an amp or speaker going through
its final death throes - horrid.
The Big Cheese really exists in a different league from most...the build
quality is excellent...it is remarkably sensitive and responsive to changes
in volume and tone from the guitar itself...it seems to become like and
extension of the instrument itself.  A remarkable device in every respect.

Joe Gore, "Guitar Player" June '96:
>From it facetiously labeled controls... to its absurdly over-the-top 
this gadget drips attitude.  Mode 1 elicits a bludgeoning punkoid tone with
fizzy highs, scooped mids, and thunderous bottom.  Mode 2 is a pointier
flavour with buzz-saw mids.   And the third setting - illustrated by a
drawing of a wedge of Swiss - literally deconstructs your sound.  What a
bargain - ordinarily you have to break something to get a tone this cool.
But despite its demented edge, the Big Cheese is remarkably responsive.
Its tone controls interact with those of your guitar in complex, subtle
ways.  The curds control, for example, takes on entirely different
characters as you roll back your volume pot.  Still, the pedal's subtlest
setting are pretty extreme...

Chris Everard, "DJ Technology" Oct. '96:
Dedicated to making that classic guitar Fuzz sound, the Lovetone Big Cheese
can be inserted in the FX loop of the Meatball to make the filter ramp up
into honking electronic fizziness. The 'Curds' and 'Whey' knobs are most
welcome for stretching the brittle edge out of bass synth patches.

Jim Matthews, "The Guitar Magazine" Feb. '99:
Lovers of traditional trem effects are going to have a field day in
Tremulant mode. From slow, soft pulses to fast, hard gate effects the
Wobulator is always in control. Parameter control is extremely wide and
even the most ardent tremolo fans will be catered for. Vibrato mode's pitch
changabilty allows everything from subtle chorusing to altogether more
violent detuning effects, with a lovely watery vibe to clean arpeggios and
chord sweeps that will have you seriously considering adopting some crushed
velvet flares. In Panner mode the Wobulator again does exactly as you'd
wish from slow sweeping movements to hard ping-pong effects. Nothing,
however, prepares you for whats in store when Dual Trem kicks in - with
full control over each channel... Dual Trem pretty much rewrites the
tremolo rule bok. Yes, it can get rather scary and confusing... but a
little time and thought can create some startling results. I've always
loved trem effects...so, for me, using the Wobulator was much like
discovering the Holy Grail. With amps spread only a matter of feet the wall
of sound is massive; through a PA it would sound magnificent.
The Lovetone Wobulator is probably the ultimate trelmolo. If you've heard
the name of Lovetone being bandied around in tones of almost hushed
reverence, believe me, on the strength of this pedal they deserve it.


The Animals  DG/BS/BC
Howie B  (Prod. U2)   MB/DG/BS/BC/WL
Beastie Boys  MB/BC
The Beautiful South  MB/DG/BS/BC
Blur  MB/BC
Boo Radleys  BC
Bootsy Collins  MB/DG/BS/BC
Tim Bran (Dreadzone, Res Rocket Surfer) MB/DG/BS/BC/WL
Coldcut  MB/WL
Norman Cook  MB/WL
Corduroy  MB/BC
Crash Test Dummies  MB
Chris Difford   MB/DG/BS/BC/WL
Billy Duffy   MB/DG/BS/BC/WL
Mike Gordon (Phish)  MB
Larry Graham  MB/BC
Trey Gunn (King Crimson)  MB
Steve Hackett  MB/BC
Mike Hedges (Prod. Manic St. Preachers/McAlmont & Butler) MB/BC
Nellee Hooper  MB/DG/BS/BC/WL
Ernie Isley  MB/DG/BC
James  BC
Chris Kimsey (Prod. Rolling Stones/INXS)  MB/DG/BS/BC
Daniel Kortchmar (Prod. Don Henley/Billy Joel/Spin Doctors) MB/BCBS/WL
Kula Shaker  MB
Steve Levine  DG/BC
Lo-Fidelity Allstars  MB
Fred Maher (Prod. Lou Reed, Scritti Politti, Lloyd Cole) MB/DG/BS/BC/WL
Mansun  MB/DG/BS/BC/WL
Johnny Marr MB/DG/BS/BC/WL
J. Mascis (Dinosaur Jr.) MB/DG/BS/BC
Skip McDonald (Little Axe)  MB/DG/BC
Metallica  MB/DG/BS/BC/WL
Gary Moore  BS/BC/WL
Morcheeba  MB/DG/BC
Alan Moulder (Prod. Smashing Pumpkins/Curve/Elastica/9" Nails)   MB/BC/WL
My Bloody Valentine  MB/DG/BS/BC
Oasis  MB
William Orbit  MB
Jimmy Page  MB/DG/BC/WL
Pino Palladino  MB
Placebo  BC
Radiohead  MB/DG/BC/WL
Tony Remy  MB
Paul Schroeder (Prod. Verve/Stone Roses/Dodgy/Cast) MB/BC
Will Sergeant MB/DG/BC
Adrian Sherwood (On-U Sound) MB
Simple Minds  MB/DG/BS/BC/WL
Nikki Sixx  MB/DG/BC/WL
Sonic Boom (Spacemen 3, EAR) MB/DG/BC/WL
Sonic Youth  MB/DG/BS/BC/WL
Stereolab  MB/WL
Dave Stewart  MB/DG/BS/BC
Supergrass  BC/WL
Matthew Sweet  MB/DG/BS/BC
Chris Tsangarides MB/DG/BC/WL
Doug Wimbish  MB/BS/BC
Geoff Whitehorn (Paul Rogers, The Who)  DG/BS


Lovetone has a non-endorsement policy and we would like to thank all those
listed above who allowed us to use their names purely out of goodwill.
There are also a significant number of world renowned names missing from
the list who we have not contacted yet.

© Lovetone 1999

-----Original Message-----
From: Elaine Walters [mailto:ew37@bellsouth.net]
Sent: Thursday, August 26, 1999 2:50 AM
To: Loopers Delight
Subject: Lovetone address

Why hasn't the Lovetone site ever been updated??  I hear all about these
cool new units (Ring Stinger, etc) but there are no mention of these on the
site.  I can't even send mail to the address listed.  Have they relocated
and I just missed out??