Until we shut off the product supply from Maxon to Ibanez in 2003, there were some models with different names and designs, but the contents were basically the same. Back then, almost all products, in addition to the TS808 and OD808, were supplied with the same circuit and the same specifications but under different brands. Therefore, Maxon concentrated on domestic sales only, and overseas export was supplied under the export company Hoshino Gakki’s Ibanez brand or the U.S. How did Maxon start making effects for Ibanez, and did you make any changes to the OD808 circuit when it became the TS808?Īt that time, Maxon did not have the ability to export products abroad on its own. After that, the RC4558, JRC NJM4558 and TI RC4558 were installed, depending on the production lot. The OD808/TS808 were both remodeled several years later to use the Raytheon RC4558, which had improved audio characteristics to the UA1458. The UA1458 was eventually adopted for the earliest OD808/TS808 narrow-case pedals. However, the price was almost the same as the UA741. The Fairchild UA1458 and Motorola MC1458 were also offered. They were so expensive that I hesitated to use them for Maxon products. All were imported goods, and the price was more than 20 times the current price. Also, the nuances of the player’s picking needed to come out, and it was challenging to implement that as a component of the total system of guitar, pedal and amplifier while also creating a synergy with the amplifier.Ĭan you tell us about the different op amps used for the OD808 and TS808?Īt the time, the first operational amplifiers that I evaluated for trial manufacture were the Fairchild UA741 and Motorola MC174. I wanted to create an effect with the original sound of the guitar remaining, and with a softer distortion. The main challenge was to avoid a dramatically changed effect that didn’t leave any of the guitar’s original sound, like fuzz and distortion pedals of the time. What were some of the challenges to creating a solid-state circuit that would sound and feel like a tube circuit? The final determination of almost all of Maxon’s pedals was done by Shiro Tanigawa. Occasionally, I used a Marshall 1959 Super Lead.ĭid you use any guitar players to help voice the OD808? Were there any particular tube amps that you used as references?Īt that time, I mainly used Fender tube amplifiers for development and audio tests of the pedal, specifically a 1968 Fender Twin Reverb and a Vibrolux Reverb. I understand that the OD808 was designed to compete with the Boss OD-1, but that you wanted it to have a more tube-like sound.
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